Don't Believe the Hype

If you like to be scared, if you like to laugh, and if you like to learn a thing or two at the movies, this absolutely cannot be missed.

By the time the dramatic fireworks start popping off, each one feels earned.

A clunky actioner with a handful of cool moments.

I find films that deal with the messier parts of human family interactions difficult to watch, especially when done convincingly. This film does just that. No matter one's beliefs regarding life and death, you know that Grandpa had much to atone for and perhaps was even deserving of death as punishment for his actions. But when the story reached its conclusion I found myself strangely satisfied that no other outcome was possible. I was relieved because any other outcome would have imposed some intolerable burdens. Salvation lay in the affection between the two protagonists.I sought this film out for Rose Byrne and was not disappointed. She is one phenomenal actor with an amazing range and the ability to mold herself into any personality. Her performance is worth the film's nearly two hours running time. The direction was flawless and the camera work simply astounding. Some of the visuals were nearly hypnotic in their beauty, such as the scenes of the sky dotted with clouds and the DS in the foreground.My gripes are minor. I found it a bit too long. There was too much of Byrne's character stumbling around feeling her way about. We get it, she is blind, we don't need constant reminding. I don't know that so much of that added anything and at least in my case it detracted. Then the car: how is it possible that it survived in this pristine condition? No tears in the upholstery, the chrome impeccable, no mechanical defects, showroom ready. Even in western Australia's dry climate one would expect some wear and tear.As I said these are minor gripes. "The Goddess of 1967" is a significant achievement in cinematic history especially given the absence of special effects, action-packed sequences and copious amounts of blood and gore.

I saw this movie at a film festival, and have been patiently waiting for it to be distributed. Unfortunately, the world at large is deprived of the pleasure. This film conveys a collector's love (a difficult thing to understand if you don't have the affliction), and a profound sense of culture and culture shock. The most remarkable thing is that all this is done without overuse of dialog. Through the study of the human condition and the connection that can exist between two people previously unmet, the audience is witness to an evolution on several levels. Beautifully shot and artfully acted, this film achieves (and then some) what Japanese Story fell short of.

This film combines an interesting and meaningful plot with cinematography which is a tribute to the many textures of Australia and some restrained but insightful acting and direction. Most of the funding for the movie was from two state governments. The producers have had to be sparing with their special effects. Despite this the film has more atmosphere than most Hollywood films with budgets in the tens of millions. This film does not shout any particular message at its audience, so how much you see is really up to you. Many films about such a sensitive topic can be too heavy handed. It is a great credit to Clara Law that she says so much so quietly.

Not many people have seen this film. Those who have seen it, will either hate it or love it. I loved it.The movie starts with a computer screen that says: I want to buy GOD.The Prologue doesn't have any human voices. The world the director shows of Japan is obvious. A world of Japanese high-tech. Everywhere there are machines, nobody lives without it. Even as they communicate. As well as the running is been done on a machine.Clara Law has a very interesting and personal view which shows us her own interesting personality that she is. Because of that movie I can't let go of that.She succeeds in showing us her own vision of The Goddess of 1967 because she stays consequent by creating a contemporary and postmodern feeling. A feeling she got from her own environment. Born in Macau, studied English literature in Hong Kong. Afterwards Film in London and lives with her husband in Australia.What Clara Law tries to explain in her movie is sort of autobiographic, it is obvious that she reflects this on the two protagonists. Both characters living in two completely different countries and cultures. Clara Law doesn't work this movie out in a shallow kind of way. She does it within a own creative way and lets the characters explore each other One character JM appears to be having everything he wants. Financial that is. He is so wealthy he believes he can buy god. Therefore he wants to buy this is beautifully car called the CITROEN DS from 1967. The GODdess. For JM this means freedom. Free of all the big luxury, being unhooked of all the machines.The other character is BG. A girl who has been blind for all her life. Because of a suddenly death of the dealer of the car, BG will lead JM the way to the real owner of the car. Or so she says.Once they are on the road with the car, you can follow the mental way of both characters. On the road the flashbacks follow and the viewer learns the pain and history of the characters and why the are what they are. Neither silent or moving. Neither perceivable or imperceptible Neither nothing or everything. A state of mystery, paradox, ambiguity That is what I tried to capture in this film. CLARA LAWThank you Clara Law.....