New Generation Of Film-makers Dominate First Days... (Press, 7 August 1986)

The tenth Christchurch International Film Festival kicked off on 7 August 1986, showcasing a strong emphasis on youthful themes, energy, and creativity. The festival attracted attention with its selection of four standout films that resonated particularly well with audiences: "My Beautiful Laundrette," "Brother From Another Planet," "Repo Man," and "Subway." Despite their shared youthful hedonism and punk aesthetic, each film presents a unique narrative and style. "My Beautiful Laundrette," a British film, engages with the complex issues of race, class, sexuality, and politics in London, following a young Pakistani man and his punk friend as they attempt to open a laundromat. The film draws attention to the nuanced realities of its characters, highlighting their imperfections and humanity. "Repo Man," an American film, combines elements of anti-establishment sentiment and sci-fi with a story centred on the misadventures of a young repo man, played by Harry Dean Stanton. Its anarchic sense of fun and irreverence resonates throughout the film. Similarly, "Brother From Another Planet" examines alienation and societal detachment through the lens of an extraterrestrial being who observes life in Harlem, shedding light on the struggles faced by those in the community. French film "Subway" features Christopher Lambert as a punk musician who escapes from law enforcement by hiding in the Paris Metro. His journey introduces him to a fantastical underworld of misfits who also evade societal norms. The festival also featured notable works from established directors. Eric Rohmer's "Full Moon in Paris" examines themes of young love and self-deception, while Jean-Luc Godard's "Hail, Mary" offers a more obtuse take that leaves viewers questioning its handling of sacrilege. Additionally, Helma Sanders-Brahms' "The Future of Emily" provides an anti-feminist perspective on family life across generations, and Marleen Gorris’ "Broken Mirrors" presents a feminist horror narrative focused on prostitution. The festival continued into its second week at the Savoy Theatre, with a diverse programme featuring films from ten different countries. Highlights included Laurie Anderson’s concert film "Home of the Brave," a horror-comedy titled "Re-Animator," and the vibrant musical "Shanghai Blues" from Hong Kong. Several other films were scheduled, with Spanish feature "The Holy Innocents" depicting themes around societal oppression and the landlord class, while "When Father Was Away on Business" offered a surreal look at family dynamics during unsettled political times in Yugoslavia. David Hare made his directorial debut with "Wetherby," and Martin Scorsese contributed with "After Hours," exploring urban life and personal escapism. The eclectic lineup promised a range of unique narratives, including a variety of comedies, thrillers, and dramas from around the world. Later screenings included Akira Kurosawa's "Kagemusha," Japan's most expensive film, which presents grand battle scenes, complementing a shorter documentary about the influential woodcarver Hokusai. The festival thus showcased both emerging and established filmmaking talent, setting the stage for an engaging exploration of contemporary cinema.

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