In 1930s Australia, Anglican clergyman Anthony Campion and his prim wife, Estella, are asked to visit noted painter Norman Lindsay, whose planned contribution to an international art exhibit is considered blasphemous. While Campion and Lindsay debate, Estella finds herself drawn to the three beautiful models sitting for the painter's current work, freethinking Sheela, sensual Pru and virginal Giddy.
Szirének, Sirener, Sirene, Die Verführung der Sirenen, Verführung der Sirenen, Sirens - Sirene, Sirènes, Sirenas, Сирены, Sereias, Sirény, 相约在今生, Syreny, Sirenele, Sirenler, Сирени, 사이렌스, Sirenes
USAR
USA
AustraliaMA 15+
UK15
Ireland18
Germany12
Denmark
FranceU
Italy
Hungary16
USAR
Denmark
Australia
Denmark
France
Germany
Hungary
Ireland
Italy
UK
USA
1930s upperclass woman discovers hot girl summer for the first time while her husband slowly transforms into a mountain goat
Hugh Grant’s character watching his wife be involved in an incest-implicating lesbian tickling scene is something Australian cinema should be proud to have in its collection
A complicated and flawed look at sexuality, gender, religion, and class that doesn't quite get the class narrative right, wrongfully positions communist countries as anti-religion*, and has a weird thing about Atlantis going on, this film has Hugh Grant and Sam Neill in it... and focuses brilliantly on the female lead instead. The central story of the breaking down of sexual repression within Estella is strong enough to let the flawed political themes around it drop away. It handles the narrative with Giddy skillfully as well, allowing her sexual agency without leaving her undignified, and the film tacitly denounces the anti-sex, anti-woman views of the men and towns folk. It makes it about the women and not the men, and…
If you enjoy seeing Hugh Grant getting nervous around naked people, this is a must-see.
love a bit of outback homoeroticism in the morning
what a bad poster
For a film that's basically about naked sexy ladies, it was way funnier and way more queer than I was expecting. Lindsay doesn't treat his models terribly and it's pretty devoid of creepiness! Also, there's full frontal male nudity for all those who want nudity parity, and historically accurate armpit hair.
"I want to wake up now."
I'm not going to pretend I have anything smart or insightful to say about what this movie seems to want to get across in terms of sexual liberation, nude paintings (of women, but also a man!), gender dynamics in this kind of working relationship, etc. because frankly i wasnt concentrating enough to focus on any of that. i do know however that this had a lot of funny lines, was genuinely entertaining, and even had moments of beauty in it thanks to the performances and some surprisingly well done dream/dreamlike sequences. also even though i watched this for sam neill i do love how much time it spends with the women of the story…
portia de rossi i'm free on tuesday if you decide to divorce ellen degenerate on tuesday when i'm free
Australian cinema finds it's G-spot.
i don't like to criticize things for what they aren't, but: needed less straight yearning and more full-on lesbianism
A surprisingly touching and respectful film about the discovery of female sexuality, utilising the Australian outback as a lens of raw humanism.
This was the first film in my class for The Australian Screen, and it feels oddly perfect for the first screening. It encapsulates the Australian humour, as well as utilising the “dangerous Australia” stereotype and the idea of the outback being the home of barbarians to open up these traditional clergy members, particularly the protagonist Estella, to the freedom of sexuality and humanism of sex.
The direction was consistently beautiful, full of gorgeous imagery and nudity that doesn’t objectify any of the actors, but still captures the sexuality of both the men and women. It trods the line…
