(Stefanie Rossi) goes away on a business trip, and he naturally goes on an uneasy bender-of-sorts, hanging out and horsing around with friends (none officially introduced), smoking bongs, wandering the streets, partying somewhat listlessly and semi-lusting for a local girl.
Who would have thought that aimlessness could be so compelling? Retter’s assured direction and Chhorn’s technical tricks on very limited finances keep a potentially rambling narrative under control, and the viewer is left persistently uncomfortable due to the YOUTH ON THE MARCH (18+) soundtrack, where we **** leap from hip-hop to radio interference to harpsichord Co-writer, director Mike Retter to grunting and beyond, all and co-writer, producer, editor suggesting something you and sound designer Allison can’t quite get your head Chhorn’s follow-up to the around. And yes, we build also Port Adelaide-created to a final act that, even in Stanley’s Mouth (and part of this carnal context, feels the Port Film Co-op as well) surprisingly steamy. treads some similar stoner ground but proves weightier, An artistic collaboration tougher, creepier and raunchier. that will hopefully continue Reminiscent, perhaps, of the for a long time yet, Retter sweatily disturbing works of and Chhorn are exactly American Larry Clark (like what the Port Adelaide Kids and the oh-so-infamous arts scene needs (and yes, Ken Park), this micro-budgeted there is one!). Hell, they’re feature nevertheless feels pretty exactly what the whole damn proudly Adelaidean, and should Adelaide arts scene needs! hopefully embarrass all the right people. The plot is vague in the best possible way, with a lankhaired teen named Gill (played by Ben Ryan) introduced in a series of idle poses, but Ryan’s performance and Chhorn’s discomfitting soundscape keep warning you that there’s much more going on in his seemingly addled mind. The kid’s obviously long-suffering Mum
BATTLE OF THE SEXES (M) ***1/2 The true story of the 1973 tennis match between Billie Jean King and Bobby Riggs has already been told in a 2013 doco (with almost the same title), but this bigscreen dramatisation from married co-directors Jonathan Dayton and Valerie Faris (of Little Miss Sunshine and Ruby Sparks) is about more than sport, ‘70s nostalgia or even feminism: it’s about equality - gender, financial and marriage - at a time when we really need it.
Emma Stone is terrific as tennis Grand Slam winner Billie Jean King, who’s seen striking out against horribly chauvinist promoter Jack Kramer (Bill Pullman), campaigning for the rights of women in sport and experiencing a rather delayed but lovely coming-of-age when Mad Dog Bradley she meets hairdresser Marilyn Barnett (Andrea Riseborough, Youth On The March who starred alongside Emma in is screening as part of Birdman). Including Marilyn in the women’s tour, which raises Adelaide Film Festival at Hart’s Mill, Pt Adelaide, on some friendly eyebrows from Friday 13 October at 7pm. pal Gladys Heldman (Sarah All details are at: https:// Silverman) and wardrobe pro Cuthbert ‘Ted’ Tinling (Alan adelaidefilmfestival.org/ Cumming, of course), Billie titles/106205/youth-onwatches as Riggs (Steve Carell the-march from Little Miss Sunshine)
beats Margaret Court (played by an actual Australian, Jessica McNamee) in a much-publicised game where the former World Number 1 hoped to prove that men are superior to women in sport (and therefore everything). Eventually agreeing to take on Riggs in a match to be watched by millions, King must also deal with the appearance of her husband Larry (Austin Stowell), and Simon Beaufoy’s script admirably doesn’t turn him into a monster, as he’s caught in the middle of another battle-ofsorts, while Riggs’ wife Priscilla (Elisabeth Shue, looking great in the ‘70s fashions) is also threedimensional and obviously loves him, even if he drives her insane.
With a convincingly lived-inlooking period recreation, a line in sweet comedy, impressive recreations of the matches (where you can’t see the tricks, even if Emma has admitted to being a poor player) and surprising suspense (whether or not you know the final outcome of it all), this doesn’t quite sugarcoat Riggs (who was just a touch more repellent) and plays King’s unexpected love-triangle pleasingly, ahem, straight. All the more reason to just say ‘Yes’.
Mad Dog Bradley