Review: Alison Maclean Returns with 'The Rehearsal'

By Glenn Dunks

Alison Maclean is not a prolific filmmaker. While her resume is littered with TV (Sex and the City, The Tudors), music videos (Natalie Imbruglia’s “Torn”) and short films (the superb domestic horror Kitchen Sink, and a segment in Subway Tales), films are few and far between. Her third feature is The Rehearsal and if its release feels awfully quiet then you can probably thank the near 20-year gap between feature projects and her return to her native New Zealand with a thorny film about tricky subject matter and written with a sense of ambiguous mystery.

My knowledge of New Zealand cinema is by far not as thorough as Australian film, but Maclean’s Crush is perhaps my favourite from there that isn’t Heavenly Creatures or The Piano. It is a film rife for rediscovery, not least of all for the delicious performance by Marcia Gay Harden at its centre (it also competed for the 1992 Palme d’Or). I was less enamoured by Jesus’ Son, a film that I assume stuck too closely to the often chaotic and episodic short story structure of its source novel to find its own groove, although Maclean’s experiences in the vast expanses of New Zealand and Canada gives her a unique advantage in framing the emptiness of the American mid-west and finding idiosyncrasies for her characters.

The Rehearsal is a much different style of film. It’s smaller in scope in terms of its core narrative, less tied to and reliant on its location and a sprawling need for its characters to escape whatever it is that nevertheless confines them to their place in life.

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Doc Corner: 'Nobody Speak: Trials of the Free Press'

Get ready to hear the words “Bubba the Love Sponge” way more than you ever thought possible. As somebody who isn’t especially knowledgeable about Z-grade American radio celebrities, this came as quite a shock to me, but I guess that is keeping in theme with the film in general. This is a documentary that covers such a salacious and outright bizarre story that nothing should really shock. A film about serious issues that plays at times like an absurd comedy. A film that sadly reflects the gutter within which we live.

Nobody Speak: Trials of the Free Press is the latest documentary by Brian Knapperberger. Like his last film, The Internet’s Own Boy: The Story of Aaron Swartz, which looked at the life of the late Reddit co-founder, this Netflix streaming doc examines a part of the online world that often goes unseen. Knapperberger’s demonstrates a weightier sense of confidence here, but like that earlier film, he has a keen ability in finding the central beating heart of a story that could easily confuse and confound audiences – whereas before it ones and zeroes, here it is legal jargon and the first amendment.

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Pride Month Doc Corner: 'No Dress Code Required'

We have been looking at LGBTIQ-themed documentaries for Pride Month. We conclude this mini-series with No Dress Code Required, which just played the Human Rights Watch Film Festival.

Right off the bat, director Cristina Herrera Borquez has a leg-up on other LGBTIQ civil rights documentaries by focusing on a (presumably) little-known fight for marriage equality in the Mexican state of Baja California. Queer stories from this region are not surprisingly few and far between. In No Dress Code Required we follow a gay couple – Victor Fernando Urias Amparo and Victor Manuel Aguirre Espinoza (“The Victors”) – who are withheld from marrying in spite of Mexican law.

What starts as Borquez simply documenting the seemingly minor court case, eventually leads to her having a front row seat in a national media frenzy that shines a necessary light on the dynamics of Mexico’s complicated relationship with the gay rights movement...

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Pride Month Doc Corner: 'Whitney: Can I Be Me'

This month for Pride Month we're looking at four documentaries that tackle LGBTIQ themes. This week it is Whitney: Can I Be Me, the latest in a long line of musical documentaries.

There is no need to introduce Whitney Houston; we all know her and her songs. I also have no doubt that people reading this know her story of soaring talent and troubled downfall due to drugs. Hers was an arc that is rooted in the blueprint of great cinematic tragedies, a story that we have seen play out plenty of times before (in life as well as in in the movies), that it would be easy to roll our eyes at how cliched it was if it weren’t so painfully true.

If it feels somewhat curious then that director Nick Broomfield has turned his documentary eye to her story then that’s because it is. Unlike his earlier music doco Kurt & Courtney (or even his pair of Aileen Wuornos docs in which he takes an antagonistic role with his subject), there isn't an antagonist to go after. Whitney: Can I Be Me’s central conflict is predominantly between Whitney and herself. The title, “Can I Be Me”, was a phrase used often by Whitney – at times in the backstage footage, her team are even seen joking about it – as a means of apologising for being herself rather than the perfect pop creation crafted by Clive Davis and her mother.

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Pride Month Doc Corner: 'The Untold Tales of Armistead Maupin'

For pride month, we're looking at a new queer-themed documentary each week beginning with The Untold Tales of Armistead Maupin, which continues to play festivals around America.

“I’d like to tell you about the first time I had sex.”

This is a like spoken by the one and only Armistead Maupin in Jennifer M. Kroot’s documentary The Untold Tales of Armistead Maupin. It’s spoken by him as he sits in a relaxed chair on a plainly adorned stage in front of a crowd of predominantly gay men. It garners a laugh from those in the audience there (as well as presumably the audience at home; I did), but it’s a moment that is quite indicative of the film around it.

Kroot’s film is not one that is shy about sex. It couldn’t possibly be. To do so would be to deny the essence of what made Maupin such an important figure in both literary and queer history. Sex was an important part of him and his work. To hear it spoken of with such ease in this documentary is a relief – and that’s before even getting to the part where he details where and how he met his future husband, a moment that adds a wonderful dash of gay modern reality to a story so rooted in the allure of 1970s gay life.

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