RealTime E-dition 8 March 2016

RealTime E-dition

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Welcome to our International Women’s Day E-dition, which includes Lauren Carroll Harris’ report on promising new directions offered filmmakers and audiences by female-focused film festivals. Above, the team at Women in Film & TV NSW pose in the outfits they wore for their funny and forceful “End the Sausage Party” protest against the low number of nominations for films made by women in the 2016 AACTA Awards. Elsewhere in this E-dition, a cohort of female RealTime writers respond to a variety of out-of-the-ordinary works in the Perth International Arts Festival (Jana Perkovic), Supercell Contemporary Dance Festival (Kathryn Kelly) and Asia TOPA (Sally Sussman and Madeline Roycroft). Demands are rapidly escalating for gender equity and freedom from discrimination and violence in the face of surging dictatorial politics overtly hostile to women's rights. RealTime celebrates women's creative capacity to prevail. We’re off to the Adelaide Festival! See you again on 22 March.

Virginia & Keith

ASIA TOPA: ESCAPE ATTEMPTS Lachlan Philpott's Little Emperors conveys with theatrical verve the oppressive weight of obligation borne by the progeny of China's one-child policy, writes Sally Sussman.

ASIA TOPA: THE POWER OF COLLABORATION Madeline Roycroft revels in the interplay between Garin Nugroho's film, Satan Jawa, and the score composed by Iain Grandage and Rahayu Supanggah and played live by 20 gamelan players and the Melbourne Symphony Orchestra.

PIAF 2017: NATURALISM THAT MAKES SPACE FOR ALL
Jana Perkovic applauds American playwright Richard Nelson’s trilogy, The Gabriels, set across the 2016 election year and vividly portraying “a group of three-dimensional individuals, their lives spent navigating the consequences of grand narratives, without ever over-identifying with them.”

PIAF 2017: A WORLD CHANGED? Idiosyncratic works focused on our relationships with water, sport (women’s) and political power trigger reflection on connections between self, community and history, writes Jana Perkovic.

UNANTICIPATED MOVES Kathryn Kelly engages with fascinating works about female eros, passing and power from Switzerland, China and Australia in Brisbane's new Supercell Festival of Contemporary Dance.

ASIA TOPA: MODEL DIRTY DANCING
On seeing The Red Detachment of Women, Sally Sussman swings “between excitement at seeing such a vibrant rendition of a ‘Model’ work and reluctance to validate such striking art performed, as it had once been, totally in the service of dirty politics.”

PIAF: THREE KINDS OF GRIEVING
Opus No.7 (Russia), Betroffenheit (Canada) and Exit/Exist (South Africa) reveal radically contrasting means for expressing loss, its enduring impacts and attempts at accommodation, writes Jonathan W Marshall.

WOMEN'S FILM FESTIVALS: BREAKING THE MOULD
Lauren Carroll Harris speaks with Sophie Mathisen, Kirsten Stevens and Whitney Monaghan about the role of women's film festivals in achieving gender parity for filmmakers with increased support and inventive audience-building.

THE LOOP
Loop into hallucinatory video, an online realm dedicated to the Carel Fabritius painting The Goldfinch and articles about a James Baldwin documentary, the 19th century origins of "empathy" and how refugees stay in the loop via mobile phones—and you can help.

RealTime E-dttions are published by Open City an Incorporated Association in New South Wales. Open City Inc is supported by the Australian Government through the Australia Council, its arts funding body, and by the Visual Arts and Craft Strategy [VACS], an initiative of the Australian, State and Territory Governments. RealTime’s Principal Technology Partner is the national communications carrier, Vertel.

Opinions published in RealTime are not necessarily those of the Editorial Team or the Publisher.

RealTime, Open City Inc
PO Box A2246
Sydney South 1235
Australia

Tel 61 2 9283 2723

[email protected]
www.realtime.org.au

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