Most major starlets — or actresses groomed for stardom — of the 1990s and early 2000s headlined a period film or two during their career ascent, whether suited to the milieu or not (see Julia Roberts, Meg Ryan, Michelle Pfeiffer, Jodie Foster, Nicole Kidman, Demi Moore, Winona Ryder, Reese Witherspoon, Kate Winslet, Gwyneth Paltrow, and so on). Frances O’Connor was no exception, and did nice work in films like Mansfield Park and The Importance of Being Earnest , though for this reviewer O’Connor impressed most indelibly in Emma-Kate Croghan’s Love and Other Catastrophes and Bill Bennett’s Kiss or Kill , both very spiky, spunky contemporary works. That mix of the classical and contemporary is at the core of O’Connor’s directorial debut, Emily (2022) , a dramatization of the life of the Brontë sister of the same name. I use the term dramatization rather than biopic, as O’Connor herself rejects the latter descriptor in a Guardian interview promoting the film ; one could venture ev...
Australia has an impressive and eclectic national cinema, but too often its films struggle to attract attention, receive brief theatrical runs, are ignored by audiences, and simply fall through the cracks. Down Under Flix was created to shine a light, show some love, and where necessary throw shade at obscure, forgotten, neglected, or under-appreciated Australian films