What Perth people want: Deocoding a city’s vibe to plan it a festival

 

“People are genuinely interested in who you are and why you’re here,” she said.
“Perth knows who we are and who we are not: not the east coast, not a big city, and not in a rush.”

Who Perth people are, what they like and what they need has been top of mind for Msimang since she was asked to curate the 2020 Literature and Ideas Festival, the writers festival taking place within Perth Festival.

And she’s noticed that while Perth might be comparatively protected from the world, even this city could not be insulated from the whirlwind that was 2019.

“We are living in a moment when people are really sped up,” she told WAtoday ahead of Thursday night’s program launch.

“If things were already fast, 2019 was really a headspin.”
There were plenty of existing pluses with the Perth festival – including a loyal, engaged audience and a vibrant central hub around the University of WA’s University Club, giving the venues a distinctive vibe.

But having attended numerous such festivals here and around the world, in recent years she had noticed common faults: overwhelming programs, no time to reflect between events, and a pressure to pack as much in as possible.

Thursday night’s program launch at the Octagon Theatre. By Jessica Wyld

Her idea was simple but radical: slow it down. Sessions lasting an hour instead of 45 minutes. Breaks lasting 30 minutes instead of 15. Panels featuring two or three writers instead of 4-5.

The idea is that each session will allow for a deeper conversation, and maybe even questions at the end won’t have to be dropped as they so often are.

Each break will accommodate not a hasty bathroom trip but also give you a chance to grab a coffee or chat to the person next to you about what you saw or are about to see.

Small panels will allow members to have their say, address questions and go down enticing rabbit holes.

The flipside, of course, of any “less is more” approach is that sacrifices are made. The event cannot be spread over more days due to financial constraints, so the overall number of writers appearing is reduced.

But the list of headliners would seem to prove a limitation can also be a strength, with Thursday night’s launch revealing a list stacked with impressive international, national and local names.

One can hardly find a bigger headliner than Neil Gaiman, whose works include The Sandman comics and novels CoralineAmerican Gods (televised by Netflix) and Good Omens (co-authored by Sir Terry Pratchett and televised by Amazon Prime), who will be telling his life stories at Perth Concert Hall.

Bruce Pascoe, whose 2014 book Dark Emu was bought by more than 115,000 Australians in 2019 alone, and is now being adapted by ABC TV, is appearing in an opening event that sold out faster than any other in the wider Perth Festival.

At the launch. By Jessica Wyld

Other names include:

  • Christos Tsiolkas, author of The Slap and new tome Damascus;
  • Jasper Jones author Craig Silvey;
  • Charlotte Wood, Stella Prize-winning author of The Natural Way of Things, promoting new novel The Weekend;
  • Melissa Lucashenko, Miles Franklin-winning author of Too Much Lip;
  • A.J. Betts, author of YA bestsellers Rogue, Hive and Zac & Mia;
  • The Family Law’s Benjamin Law;
  • The Accidental Feminists author Jane Caro;
  • Look What You Made Me Do author and Walkley award winner Jess Hill;
  • The Gruffalo author Julia Donaldson;
  • Holden Sheppard, whose debut Invisible Boys has won rave reviews and a slew of prizes;
  • Peter Holmes à Court on his memoir Riding With Giants;
  • Crime authors Dervla McTiernan, Sara Foster and David Whish-Wilson;
  • Bruny author Heather Rose

Each was handpicked for how their works speak to the festival’s theme of Land, Money, Power, Sex, and paired carefully with others for events that promise to push the boundaries in exploring those themes, with the result that many remarked to Msimang it was their most personalised, thoughtful festival invitation in years.

Look out for the companion story coming soon, detailing the must-see highlights of this year’s program, but don’t forget: slow down, and take it easy.

The 2020 Literature and Ideas Festival runs February 21-23.

This story originally appeared here on WAtoday

The Beguiled, or ‘women making movies from books by men about women.’

After watching The Virgin Suicides I wanted more books by Jeffrey Eugenides and more films by Sofia Coppola.

I now have a copy of Eugenides’ The Marriage Plot, but that’s on a ridiculously big to-read pile, so more on that later. Quicker gratification was had through renting Sofia Coppola’s The Beguiled, a Southern gothic set in rural Mississippi during the American Civil War.

Released last year, it has a high-powered cast; Nicole Kidman and Kirsten Dunst play two hot but buttoned-up schoolmarms looking after a few stranded students (including Elle Fanning, Australia’s Angourie Rice, from Jasper Jones) all walled up in their seminary on the edge of a forest waiting out the war.

One of the younger girls comes across a wounded enemy soldier in the forest and her teachers decide not to turn him in and to tend his wounds and let him recover his health within their four walls instead.

But nobody reckons on the hotbed of lust that can become of a bunch of beautiful women of varying age locked up with a charmingly helpless (but growing stronger every day) Colin Farrell. In short you don’t know who needs protecting more, him or them, and that scenario keeps changing over the course of the movie.

It has the Coppola cinematography I craved. The outdoor shots, particularly, of the massive trees dripping with Spanish moss, dwarfing the human story playing out beneath them, somehow frame the whole story, emphasising their isolation and heightening the sense of dreamy beauty. And the intimate shots of the women and their faces make for another sensitive portrayal of human beauty, emotion and desire.

The narrative has plenty of suspense, fuelled by a sense of imminent danger and disaster, and controlled, nuanced performances from the actors. The ending, when it comes, is melancholic and subdued. I didn’t mind that too much, but Charlie, who I watched it with, was disappointed, having hoped for something a bit more dramatic. The Ministry probably would have hated the ending.

Interestingly, like The Virgin Suicides, this was a female director making a movie from a book about female power and sexuality, that was originally written by a male author.

I wonder in circumstances like these about the multiple acts of creative perception and imagination that led to what I finally see onscreen, especially since it’s finally coloured by me, the person watching it.

It’s not haunting like The Virgin Suicides, and probably isn’t something you’d watch twice. But I would be interested to see the 1971 version (starring Clint Eastwood) and definitely recommend watching this, to anyone interested in contemporary cinema. You won’t be bored, unless you’re exclusively into Marvel movies.

Speaking of which, I’ve just seen this trailer for Venom. I don’t generally think much of Marvel movies (X-Men and other exceptions aside) but the blurb from its PR people called it “one of Marvel’s most complex characters”, and the preview looked cool (until 1.20 when I stopped watching, as I do in all trailers now). Now I’m dithering over whether to go see it. Anyone excited about this?

Movie version of Jasper Jones is off with a bang

Jasper Jones - Photograph by David Dare Parker

Jasper Jones – Photograph by David Dare Parker

It’s been eight years since Fremantle author Craig Silvey’s novel Jasper Jones hit the shelves and was devoured with equal adoration by both critics and the public.

If he’s been a little quiet since, I hear it’s because Silvey has spent the intervening years crafting and honing that remarkable novel into a tight, twisty hour-and-45-minute screenplay.

Read more at WAtoday.

Madman releases Jasper Jones trailer

Madman Entertainment has finally released the trailer for Jasper Jones, adapted from Fremantle author Craig Silvey’s best-seller and featuring an all-star Australian cast including Hugo Weaving and Toni Collette.

Silvey is also known for his debut Rhubarb, but I and most people I speak to agree Jasper Jones is by far the favourite: a novel you never forget. It’s done the book club rounds because it’s that rarest of combinations, a literary novel and a thumping good read.

Now from Bran Nue Dae director Rachel Perkins, Animal Kingdom producer Vincent Sheehan and Goldstone producer David Jowsey comes this eagerly awaited adaptation.

It feels like it’s been a long time coming, with my anticipation heightened by Barking Gecko’s stage version a couple of years ago at the State Theatre Centre of WA, and more recently by hearing about the advance premiere screening of this adaptation at CinefestOZ in Margaret River some months ago.

The movie, set for theatrical release in March, follows Charlie Bucktin, a bookish 14-year-old misfit living in a small Australian town in 1969.

In the dead of night during the scorching summer, Charlie is startled awake by local outcast Jasper Jones outside his window, pleading for help.

Jasper leads him deep into the forest to show him something that will change his life forever, setting them both on a dangerous journey to solve a mystery that will consume the entire community.

In an isolated town full of secrecy, gossip and thinly veiled tragedy, Charlie faces family breakdown, finds his first love and discovers the meaning of courage.

But don’t think this is going to be boring and worthy. This was a seriously funny and vibrant book – that’s why its following is so loyal.

As well as Collette and Weaving, stars include Levi Miller from Pan and Angourie Rice from the excellent These Final Hours. Just looking at the stills makes me think they’ve cast this movie perfectly. I’m excited!