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The Weekend Australian - Review - - Out & About - David Strat­ton Stephen Romei DS

The Big Sick (M) The Big Sick is a de­light­ful au­to­bi­o­graph­i­cal rom-com. The film is set in Chicago where Ku­mail (Ku­mail Nan­jiani), a mem­ber of a close-knit Pak­istani Mus­lim fam­ily, has taken his first steps to in­te­grate as an Amer­i­can. He meets Emily (Zoe Kazan) and they’re soon in­sep­a­ra­ble — un­til she dis­cov­ers he hasn’t told his fam­ily about her and that, deep down, he is re­signed to en­ter­ing into a tra­di­tional ar­ranged mar­riage. Not long af­ter Emily leaves him, she’s felled a se­ri­ous ill­ness, and the news brings her par­ents from North Carolina. In con­trast to Ku­mail’s par­ents, they know all about his re­la­tion­ship with their daugh­ter and mother Beth (Holly Hunter) wants noth­ing to do with him. Deal­ing as it does with re­la­tion­ships be­tween Mus­lims and “or­di­nary” Amer­i­cans at this par­tic­u­lar time, the film can be said to have as­sumed an im­por­tance rare for a ro­man­tic com­edy.

War for the Planet of the Apes (M) War for the Planet of the Apes in­cludes more ref­er­ences to other films, and to hu­man his­tory, than I’ve seen in a while, and it works. It turns this 50-year-old pri­mate con­flict first imag­ined by French nov­el­ist Pierre Boulle into some­thing thought­ful and com­pas­sion­ate, as well as thrilling. The ac­tion opens 15 years af­ter the end of the pre­vi­ous movie. The apes, led by Cae­sar (Andy Serkis), are se­cluded in a moun­tain­ous for­est, fugi­tives from the hu­man army. Some apes have joined the hu­mans on the prom­ise they will be spared when the apoca­lypse comes. This is an ac­tion ad­ven­ture so view­ers will ex­pect a cli­mac­tic con­fronta­tion be­tween the two main char­ac­ters, Cae­sar and the hu­man mil­i­tary leader, the Colonel. It does come, but it is noth­ing like what we have come to ex­pect from su­per­hero films, and is out­stand­ing as a re­sult. A Ghost Story (M) I doubt there has been a movie about a ghost as sim­ple, weird and strangely af­fect­ing as David Low­ery’s A Ghost Story. The open­ing scenes in­tro­duce us to a cou­ple in love (Casey Af­fleck and Rooney Mara). We don’t know their names (in the clos­ing cred­its they’re iden­ti­fied as C and M) but we re­spond to their af­fec­tion for one an­other. One day there’s a fa­tal ac­ci­dent and C is killed. The be­reaved M re­turns to the mod­est house where they lived, ac­com­pa­nied by C’s ghost. At the screen­ing I at­tended there was laugh­ter when the ghost first ap­peared, and that’s un­der­stand­able: The ghost is C cov­ered in a white bed­sheet that has holes cut to al­low him to see through. A Ghost Story is a very provoca­tive and orig­i­nal piece of work and it chal­lenges its au­di­ence to re­spond.

in­stal­la­tion in­cor­po­rates sound and scent with works on pa­per and video on a pur­pose-built screen. Pic­tured above is Wa­ter Cham­ber 2 (2017). The Moderns: Eu­ro­pean De­sign­ers in Syd­ney The Moderns ex­plores the en­dur­ing in­flu­ence that the for­eign de­sign cen­tres of Vi­enna, Berlin and Bu­dapest have on Syd­ney’s ar­chi­tec­ture, in­te­rior de­sign and mod­ernist de­sign. Sto­ries of Syd­ney’s de­sign emi­gres from the 1930s to 60s will il­lus­trate the last­ing im­pact on this city’s de­vel­op­ments in mod­ernist de­sign. Mu­seum of Syd­ney, Phillip and Bridge streets. In­quiries: (02) 9251 5988 or on­line. Un­til Novem­ber 26. Archibald, Wynne and Sul­man Prizes Au­di­ences will have a chance to view the art­works by this year’s fi­nal­ists in each of Aus­tralia’s three most pres­ti­gious art awards — the Archibald, the

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