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A Nocturne

A Nocturne

Winner of Best Film at the Melbourne Underground Film Festival Awards.

Check the film’s website for future screenings

What kind of madness is it to sit chatting in an urban café, or to stand loitering on a city street? In A Nocturne, Bill Mousoulis takes on the difficult project of creating a mythic Melbourne: one whose everyday actions and circumstances matter to movies as well as real life. The opening scenes show commuters rushing to work, as metal music piles on top of them: corporate daylight Melbourne, it seems, is about to get its comeuppance. When a goth couple in a warehouse wake up to “another day in hell”, it becomes apparent that this sensible, “cosmopolitan” city contains a number of underground networks: hubs of vampires, graphic artists and addicts, with designs on the rest of us.

One of these is a young woman, Vee (Haiha Lee), whose goth underside is explored through a series of disturbing drawings, as well as a blood-sucking episode. However, this girl - who lives with her pleasant, not particularly repressive Vietnamese family - has a delicate, fawn-like intelligence; Lee is dignified throughout her vampiric scenes, and mesmerizing as she idly stirs a spoon through a bowl of blood. Mousoulis uses the gothic theme to underwrite the everyday and the subcultural: for instance, to link the middle-aged drunkenness of a poet with a pre-existing youth culture, or to re-animate the characters and residents of Melbourne. Inner-city Melbourne is full of “familiars”: people who register each other knowingly, through patterns of eye contact, and seem to form a plan of action. These people may come in a recognized “alternative” mode, such as the fox-eyed goth bride, X (Vanessa de Largis); they can be card-carrying members of a graffiti or heroin scene; or they can be as quiet and exquisitely individual as Vee.

Melbourne is instantly invigorated by being tracked under these genre circumstances; ordinary desperation is read as a gothic condition as well as a symptom of drug abuse or poverty. In addition, Mousoulis regards the city’s café culture with some bewilderment. Whether it’s hanging out at the bus stop or lounging with a drink in Fitzroy, it seems like insanity for people to stand around calmly, while vampirism and hunger rage at night. Female city workers in bars, socializing after hours, seem ready to be “taken”, or purloined: removed from the run of comfortable, senseless activity.

As its title indicates, this film is a night movement; the serene, disquieting piano opening - reminiscent of the start of Murnau’s Journey into Night - presents the film as a dark, even surface which immerses us. Even at the end, when the pianist (Magda Zappi) re-appears in a sunlit conservatorium, we’re still in an evening mood. Zappi is seen dozing off as her hands work the keys; the gallant goth couple marches off as the dreaming artist is left to play.

November 14, 2007 | Filed under Film, Reviews by Lesley Chow

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One Response to “A Nocturne”

  1. M.Vanhouten on February 11th, 2008

    Having seen A Nocturne at its screening at ACMI, I would have to say I was pretty disappointed. I was invited by a friend who had talked up Bill as a filmmaker so perhaps that had a little something to do with it.
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    SPOILERS
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    First off, I want to say that I thought Haiha Lee did a great job with her part. She never overdid it and was interesting to watch, unlike most of the rest of the film. The basic idea and setting was interesting, but truthfully, it came off as a little half-baked. The plot was pretty incoherent, perhaps intentionally so. The writing in crucial moments was quite bad, eg: the overly drawn-out and ridiculous cannibal death scene, the drunk at home with wine glass cannibal scene. Actually, most of the cannibal’s scenes. At some points I had to contain my laughter, (and I wasn’t the only one), in the stake scene which is clearly built up to be sombre and dramatic. Also, almost every vampire convention in the book is used here. The grungy, leather-wearing crack addict look ripped straight out of the real life Vamp subculture. Only tackier, (stick on tattoos), and with less personality. Stakes, lingering moon shots, the blood/wine thing and there’s a classical vamp scene thrown in for good measure. While I have no problem with said conventions in general, all I hear about it is “defying conventions” and “subverting the genre” (direct quote-Bill Mousoulis). It just ain’t so.

    Bill Mousoulis is an experienced director and I think he could have done so much more with the basic idea. Usually I would give props for having a go or working within a very small budget. It’s just that no one seems to have noticed any of the issues I bring up here, and it should be known that not everyone thinks this is great.

    Just my two cents. Go see it for yourself.

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