Audine Leith Movies

In 1996, Australian director Rolf de Heer made The Quiet Room about a mentally retarded boy locked in a room by his mother. He continues to explore challenges to the human spirit, teaming here with cerebral palsy victim Heather Rose whose small role in de Heer's Bad Boy Bubby (1993) led to her interest in filmmaking. The wheelchair-bound Rose, who cannot walk, feed or dress herself, communicates via her computerized electronic voice synthesizer. She overcame these obstacles to collaborate with writer Frederick Stahl on this drama, created the lead role of Julia for herself, and brought the project to de Heer. Julia's sympathetic lesbian sister Rix (Rena Owen) is not in a position to take care of her sibling's needs. Instead, Julia depends on an abusive, short-tempered caretaker Madelaine (Joey Kennedy), who calls Julia a "spastic," abandons her on the toilet, leaves the wheels locked on the wheelchair, and devises further torment by forcing Julia to watch her intimacies with a parade of boyfriends. This pattern heads in a different direction after Julia bumps her wheelchair into Eddie (John Brumpton), who becomes her companion. But Julia wants love and sex, not just companionship -- and Madelaine is jealous. The 30-day shoot sometimes worked around Rose's usual routines, as de Heer explained, "Lunch takes her two hours, and there's no way you can make it go faster...The nature of response is different, the nature of physical handling is different, the nature of set-up time is different...It's impossible to overstate the courage of the performance you see on the screen. Rose somehow found the means to respond on cue, to maintain the concentration, to move in the desired direction, all the myriad of acting fundamentals we take for granted as normal things in our normal lives." The result brought a standing ovation at the 1998 Cannes Film Festival, where it was shown in competition. ~ Bhob Stewart, Rovi

A beautiful alien is sent from the planet Epsilon to pass judgment on the shameful way in which humans have mishandled their planet. Set in a near future in which humanity has made great strides in cleaning up the Earth, it begins as a grandmother tells her granddaughters a story from the past. Her tale begins in the desert outback during the dark times when people were actively ruining their planet. The naked alien is placed upon the desert where she eventually meets a surveyor who quickly gives her some clothing. As the two travel across the land, the alien constantly admonishes him for his race's carelessness and greed. She informs him that other intelligent life forms consider humans hopeless failures. Using her ability to travel instantly to any of Earth's locales, she takes the bewildered surveyor on a whirlwind tour to prove her point. ~ Sandra Brennan, Rovi

This is a smarmy, leering sex-comedy from director John D. Lamond, who had done much better with 1978's erotic Felicity. Graeme Blundell, star of the similarly raunchy Alvin Purple, plays a nerd named Martin who sneezes whenever a woman turns him on, causing impotence. After an unsuccessful tryst with the boss's wife, Martin is sent to Tahiti on Banana Airlines. At this point, hilarity is supposed to ensue. It doesn't. Instead, what follows is the sort of drooling idiocy that would make even Benny Hill blush, as "randy" stewardesses "drop their knickers" while the offscreen narrator engages in supposedly saucy commentary of the "wink-wink, nudge-nudge" variety. There's body-painting, a stud pilot (Robin Stewart) who is sleeping with two stewardesses, and many dumb penis jokes. Lamond returned to the genre with A Slice of Life (1982), then made a failed mainstream film, Breakfast in Paris (1982), before wisely abstaining from directing for the next 10 years. ~ Robert Firsching, Rovi

This Australian fox-and-hounds melodrama concerns an intensive manhunt for a suspected murderer. Polish immigrant Mark Gaweda is accused of killing a rancher's wife. Heading the posse is police officer Wyn Roberts, who hopes that by catching Gaweda he'll be able to live down an earlier tragedy caused by his negligence. John Waters, one of Roberts' men, begins to believe in Gawada's innocence, and ends up defending the fugitive against his accusers. Weekend of Shadows was based on a novel by Hugh Atkinson. ~ Hal Erickson, Rovi