'Like earlier La Rosa works, The Captives is rife withĬonspiratorial intrigue, enacted in poker face by an ensemble of dim-bulb Substantial contributions to each genre.' – Michael Filippidis, 'La Rosa, At Last', Melbourne Super 8 Group Newsletter, May Interests that with only a few films to his name he is capable of producing La Rosa's cinema, classical narrative rubs shoulders with avant-gardeĮxperimentalism and documentary with fiction. 'Mark La Rosa is a true believer when it comes to the cinema. To Artist Film Workshop's presentation of La Rosa's Super 8 works in 2015.

Trade), as across the latter, more abstract, semi-ritualistic narratives ( TheĬaptives, Regolith), that show the full maturing of his style – works that we present here as a special La Rosa 'taster', a companion screening Suffuses his work with a mysterious, almost intangible melancholy, as presentĪcross the early realist-inflected genre pieces ( Working Week, Black To HD video, La Rosa's consistently Intimist approach to film craft Shifting economic and technological advances brought about by the digitalįilm-making revolution, whilst remaining committed to a 'miniaturist' model ofįilm-making, working with a tight-knit group of creative collaborators drawnįrom the wider Melbourne indie film community that includes other significantįigures like Richard Tuohy and Bill Mousoulis.

Super 8 Film Group in the 1980s and 90s, La Rosa subsequently adapted to the 1966) represents a particularly rich, alternate chronology of Melbourne independentįilm-making, spanning some 30 years. Great info about the film at Oz Movies website. Interview with Bert Deling, director of Pure Shit, Luke Buckmaster, Crikey, June 5, 2009. That staccato rhythm encapsulates the film’s wigged-out energy.” – Luke Buckmaster, ' Pure Shit rewatched – a see-it-to-believe-it classic', The Guardian, June 21, 2015. One short carwash scene shows the film at its most frenetic, comprising about a dozen images lasting about a second each. There are shots through cracks of doors, out of car windows and there is a stylish use of hand-held cameras long before the technique became fashionable. “Deling’s bat-out-of-hell style combines snappy editing, killer music (recorded in one day, mostly by local Melbourne bands the Toads and Spo-dee-o-dee) and unconventional compositions. 1975 all delivered without moral alibis, existentialist poetry or neat sociology.” – Peter Galvin, Pure Shit review, SBS website, June 10, 2009. “Made on the run, on 16mm, on a tiny budget, over four weekends, its rambling, episodic script harvested from the experiences of addicts and focusing on their manic 24 hour quest for a definitive 'hit’, Pure Shit is a piece of cinematic graffiti, that functions as doco-snapshot of Melbourne’s inner city drug culture c.

Unknown pleasures book