Melbourne international film festival 2022: 10 movies to see, from Crimes of the Future to new George Miller

Miff’s 70th edition offers 371 titles from all over the globe – including 18 world premieres

The Melbourne international film festival returns with a beefy line-up this year, just like the ol’ days pre-pandemic. Running in cinemas from 4 to 21 August, and online 11 to 28 August, the festival’s 70th edition includes 371 films – including 18 feature film world premieres and 112 feature film Australian premieres.

As usual, cinephiles have been pampered with selections plucked from all over the world. Here are 10 titles to put on your radar.

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‘Portals will be as important as the car’: the architects exploring gateways to new dimensions

From Platform 9¾ in Harry Potter to Bill and Ted’s phone booth, a new exhibition about portals explores the ways we’ll soon be moving around the metaverse

With its hidden doors, folding walls and clever optical tricks with mirrors and light-wells, Sir John Soane’s Museum feels like just the kind of place you might stumble across a portal to another dimension. Moving from one room to the next in this wildly reimagined London townhouse is never as straightforward as stepping through a simple doorway. The eponymous neoclassical architect and collector saw to it that the thresholds between the different parts of his house-museum were elaborate spaces in themselves, topped with lanterns and lined with mirrors and windows, offering views up, down and through his multi-levelled maze of antique treasures.

Step through one opening, expecting another stately drawing room, and you find yourself standing on a bridge, suspended in a three-storey “sepulchral chamber”, where a glazed dome brings light down to an Egyptian sarcophagus in the basement. Pull back the folding panels in the picture room, and you discover a statue of a nymph in a hidden recess, floating above a void that plunges into another sculpture-encrusted nook below the floor. Each carefully choreographed transition, each theatrical reveal, is designed to transport the visitor to a parallel universe, whether it be the ancient ruins of Giambattista Piranesi’s Paestum, the demonic halls of John Milton’s Pandemonium, or the drawings of imaginary cities made up of fragments of Soane’s own buildings.

Two hundred years later, Soane’s richly layered labyrinth has been extended with a whole new virtual dimension. Following a period of intensive research during the pandemic, experimental architectural duo Space Popular have unveiled the Portal Galleries, a beguiling immersive exhibition that explores the history and future of portals – a topic for which there could be no better setting. Using a combination of virtual reality films and physical exhibits, alongside drawings from the collection, the show charts the role of magical thresholds in fiction, film, television and gaming, and speculates on the fundamental role they will play in the coming virtual world.

“Portals are going to be everywhere,” says Fredrik Hellberg, co-founder of Space Popular with Lara Lesmes. “We are convinced they will be the main infrastructure of the rest of this century, just as ubiquitous as the car was to the last. To avoid future mistakes, we should start to get prepared now.”

The concept of virtual transport infrastructure might be quite a challenge to get your head around. But Hellberg and Lesmes are adamant that it is the next pressing design challenge, as our “scrolls become strolls”, and the internet takes on an ever more spatial dimension.

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The Gunpowder Plot review – hit-and-miss history in subterranean London

Tower Vaults, London
A thrilling live adventure is marred by moments of bewildering VR in this immersive voyage back to 1605

It may set Harry Potter fans’ hearts aflutter to know that Tom Felton – best known as Draco Malfo – is playing Guy Fawkes in this immersive experience written by Danny Robins and directed by Hannah Price. He is part of the digital cast though, appearing on our VR headsets, even if the show is partly sold on his starry presence.

It turns out this production, which takes us into labyrinthine vaults adjacent to the Tower of London, has a more-than-able live cast playing Catholics and Protestants, plotters, spies, double agents and upholders of the crown, to immerse us in Fawkes’ tumultuous underground world.

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Resident Evil 4 Remake announced at PlayStation State of Play event

The return of the hit zombie sequel topped the bill during online showcase, which also featured a new Final Fantasy 16 trailer

The long-awaited remake of acclaimed zombie adventure Resident Evil 4 was the highlight of Sony’s State of Play online showcase on Thursday evening.

The 2005 original marked a radical change in direction for the Resident Evil series, with a new focus on action and a refreshed ‘behind-the-shoulder’ camera view to replace the creaking third-person visuals. A story posted on Sony’s blog following the half-hour long event, promised that the remake would preserve the essence of the game while “re-imagining” the story, modernising the visuals and updating the controls. The teaser for the game also promised virtual reality content for the PlayStation VR headset. A release date of 24 March 2023, was given.

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Can Abba really recreate the feel of a live concert using holograms 41 years after their last set?

This week the supergroup begin seven months of gigs in a purpose-built London arena… with the band members elsewhere

Just over 41 years ago, Abba played their last concert together. It wasn’t a live show for salivating fans, but a short set for Swedish TV. A highlight was their recent hit Super Trouper, a song about the sad, endless grind of being on tour.

“All I do is eat and sleep and sing / Wishing every show was the last show,” sang Agnetha Fältskog and Anni-Frid Lyngstad, their voices still gorgeous together. The lyrics go on: “Facing 20,000 of your friends, how can anyone be so lonely?”

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‘A revolution that never happened’: The Gunpowder Plot at the Tower of London

Virtual reality and live performance combine in a show that asks audiences to consider if political violence is ever justifiable

In a series of vaults adjacent to the Tower of London that used to house fast-food restaurants and shops selling trinkets to tourists, a portal into Jacobean London is being constructed.

The Gunpowder Plot is an ambitious immersive experience, created by Layered Reality – the company behind the immersive The War of the Worlds – in collaboration with Historic Royal Palaces. It invites audiences to step back in time and engage with the events of 1605, when Guy Fawkes and a group of Catholic conspirators plotted to blow up parliament and King James I.

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‘Two years ago it was impossible’: how tech turns dance into a multisensory fantasy

From the Barbican in London to shopping centres around the country, audiences can become part of sophisticated new XR dance spectaculars – diving into Lewis Carroll’s imagination or an extravagant ballroom

I’m in an abandoned-looking house, where a woman appears like a dancing apparition. Then I’m going down a rabbit hole into a tea party in a bright yellow field. I’m conducting avatars moving to Stravinsky’s Rite of Spring; taking part in a dance class where the teacher is a hologram; arriving at a grand Parisian party dressed in Chanel.

These are my recent forays into the world of extended reality (XR) in dance. It is technology that we are told is leading us towards a new metaverse, but in practice can often seem more like watching bad graphics in very uncomfortable headgear and wondering what the point is. Nevertheless, a number of choreographers are exploring what XR could bring to dance, whether in virtual reality (VR), where you are completely immersed in a different world via a large headset; or augmented reality (AR), where you wear glasses that add images into the space around you.

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Covid pushes UK video games market to record £7bn – but games sales fall

Gamers stocked up on hardware such as consoles and virtual reality gear, offsetting a fall in game sales

The UK video games market hit a new record of £7.16bn last year as the pandemic continued to fuel an unprecedented boom in home entertainment, with gamers rushing to stock up on new consoles and virtual reality kit even as overall sales of games fell.

Lockdown conditions have made gaming one of the biggest pandemic winners with the value of the UK market now a third higher than in 2019 before the coronavirus crisis hit and worth more than the music and video streaming markets combined.

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Into the metaverse: my plan to level up broadcasting – with the 3D internet and a Blackpool ‘queercoaster’

From a dome celebrating smog-free Sheffield to a rollercoaster ride through Blackpool’s LGBTQ+ past, presenter and historian David Olusoga reveals how cutting edge tech can show us a new Britain

In the summer of 2020, a month after the statue of the slave trader Edward Colston was toppled and three months after George Floyd was murdered outside a convenience store in Minneapolis, I gave a lecture about race and racism, diversity and inclusion within the television industry. I used that platform, the James MacTaggart Memorial Lecture, to tell the story of how for decades TV has failed not only to address its diversity problem but, at times, even to acknowledge that it has one. On the small screen – as in the worlds of art, publishing, theatre and film – who gets their stories told and who gets to do the telling have never been based on talent and passion alone.

Television is an old medium with a long established internal culture, one that developed over the decades and from the outset was exclusive rather than inclusive. The BBC that emerged in the 1920s very much reflected the class-bound society that had spawned it. Early television was dominated by London, and its programmes were largely produced and presented by members of a middle-class elite.

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‘One diamond could have bought two airports’ – the Filipino recreating Imelda Marcos’s gems stash

The mind-boggling hoard of jewellery the plundering first lady tried to smuggle out of the Philippines is being remade as sculpture by artist Pio Abad – with all its sparkle gone

Over his three terms as president of the Philippines from 1965, Ferdinand Marcos and his wife Imelda were able to cream off some $10bn of the nation’s assets through offshore banks. New revelations that a close associate of the dictator was also able to maintain an account with Credit Suisse as late as 2006 therefore comes as no surprise to Manila-born Pio Abad. For a decade the artist has been making work under the title The Collection of Jane Ryan and William Saunders, a reference to the aliases the couple used with the Swiss bank.

“It’s funny when a 10-year project becomes news,” says Abad, who is now London-based. “These institutions are very culpable for what happened in the Philippines.”

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