Candy (2006)

dir. Neil Armfield

“We are the coolest people in McDonalds”

This has been one of my more criticised choices, by friends and flings combined, who question the quality of this film. I have absolutely no time for such negativity. The raw emotion and intensity of acting in this movie make it my all-time favourite. Candy and Dan represent to me one of the most perfect, hopeless, real couples in Australian cinema (don’t tell my therapist). My obsession with Monkey Grip by Helen Garner may have influenced this one, as the concept of a drug-fuelled, doomed affair of the heart is ingrained in my brain as the peak of literature and cinema. The complete tragedy of this story is something that I find myself searching for, and the depressing reality of the film makes it all the more beautiful. Sappy poetry, soft, ethereal cinematography and beautiful people make it all the more enjoyable. Abby Cornish and Heath Ledger could be the most perfect duo in Australian cinematic history. I will never forget the smug feeling I got when watching this with friends. In the second act, “Earth”, they turned to me; “please tell me they get better”. ha.

I must mention my adoration for the opening and closing scenes. Beautifully shot and wholly bittersweet.

What can I say. We love love!

Princess Mononoke (1997)

dir. Hayao Miyazaki

“Now watch closely everyone. I’m going to show you how to kill a god.”

Delving into my childhood, we have the unbeatable Princess Mononoke. Not often do I hear of many people who prefer this to other Miyazaki classics such as Spirited Away or Howl’s Moving Castle, but I find it to be in a league of its own. In 1997, Miyazaki predicted the doom of our world. The intersection of stories remains so poignant. A prince sacrificing his home to free himself of a curse, a princess raised by wolves with the sole purpose of protecting her forest from humans, and a greedy (see: determined) and fearless female figure trying to build an empire. The main element of this film that puts it above the rest of Studio Ghibli’s collection for me is the wrestling of feminism. Between San, the warrior of the forest and protector of all things good and natural, and Lady Eboshi, who protects vulnerable humans at the expense of the natural world, we have two equally strong and unwavering female characters. I am so magnetised to Lady Eboshi’s character, who represents someone who at the surface level is destructive and greedy, but uses her wealth to care for women and the vulnerable. There is much to be said on this binary, perhaps for another day. Beyond this, this film has some of the most beautiful landscapes I have ever seen in a film, along with the signature Studio Ghibli soundtracks that make the world a better place. This movie introduced me at a young age to the complexities behind concepts of feminism and environmentalism, which became my core values and have guided me since.

The Nightingale (2018)

dir. Jennifer Kent

“Welcome to the world. Full of misery from top to bottom”.

The Nightingale, directed by The Babadook’s Jennifer Kent, is the type of shock horror that recently has become a favourite genre of mine. Not for reasons of sadism, but for the deep emotional labour and psychological response that is pulled from me. Kent exposes the true horrors that engulfed Tasmania in the early invasion of Australia. Indigenous Tasmanians being hunted down in the period of The Black Line, and convicts being exploited and abused to a point of torture. This film is so raw and exposes so much evil while being a beautifully shot film with a fantastic soundtrack and setting, and unbelievably complex character development. Kent was right to create this damning film of colonialism in Australia, exposing the roots of the treachery and violence experienced by Indigenous people. Not only this, but the journey towards revenge was equally unflinching and horrific- Kent pulls no punches. A harrowing and shocking view, opening our eyes Birdbox-style to female trauma and colonial terror. Prepare to feel deeply disturbed and emotionally exposed, but all the better for having seen it. And goddamn do we love a tale of sweet retribution.

Suspiria (1977)

dir. Dario Argento

“Susie, do you know anything about… witches?”

Saving the best til last. The original Suspiria is one of those perfectly dated, completely ridiculous early horror films that a cult classic makes. Argento is a god amongst men for this era of horror, and the kitsch and completely OTT cinematography of Suspiria make it a movie I can watch over and over again. Above all, the element that makes the original Suspiria so superia (haha) is the setting. This ballet school is one I would LOVE to get cursed and murdered in. Because aesthetic! Vibes! Witches! Ballet! I have never seen such a stunning, campy setting for a horror movie and no one will ever be able to even come close to reinventing it (no shade to the 2018 adaptation). The aesthetic is unbelievable. Also, every jump scare is so… anticlimatic? But therein lies the perfection! Sara jumping into that room of razor wire that is right in front of her is literally the best scene in any horror film ever. The score is also so impressive and works with the “suspense” (it is definitely so outdated) perfectly. I saw this performed at Hamer Hall with a new score composed by King Gizzard & The Lizard Wizard a couple of years ago, and was only reminded of how fantastic this film is. All hail German ballet school covens.