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Alexandra’s Project and Rolf de Heer • Senses of Cinema. Opening credits on a black background. Then, the first in a series of smoothly edited, discontinuous travelling shots, the camera gliding down the deserted streets of suburban Adelaide in the early hours of the morning.

Black wheelie- bins line the street like sentinels. Night birds warble; a dog barks. Someone is starting a car. High- pitched electronic tones are heard, lending a slight urgency to these mundane sights and sounds; the pace quickens from one shot to another, as editing condenses the progression from darkness to dawn.

For a second the image slides, eerily, into slow motion…But now it’s morning. Watch Clear And Present Danger 4Shared more. Still at the same smooth pace, we’re approaching a row of brick townhouses at the end of a street. Low throbs begin to invade the soundtrack; an automated sprinkler thrums on the nature strip. The camera rises over a picket fence, climbs up and to the left, and crawls across the drawn blinds of a first- floor window. A cut takes us indoors. In the dim amber light of the master bedroom, we move along the half- revealed bodies of a muscular man of about 4. With her sharp features and tense expression she looks haggard, almost corpse- like.

Alexandra's control issues are so severe that she. Alexandra's Project" played on TV in my country the other day I watched. Watch Movies & TV Online. Raw Justice Full Movie.

She gets up from the bed and there’s a cut to a close shot of her face in profile, as she stares at herself in the bathroom mirror.“I’m sorry, Steve,” she whispers. I’m truly sorry.”She spits violently at her reflection. And the story starts. Watching Rolf de Heer’s Alexandra’s Project (2. The Tracker (Rolf de Heer, 2. Watch Along Came A Spider Online Mic. Heer has evolved into one of Australia’s few genuine film stylists. Moment by moment, shot by shot, his two most recent films display a confidence and sense of purpose only occasionally apparent in such earlier efforts as The Quiet Room (1.

Dance Me To My Song (1. Bad Boy Bubby (1.

Perhaps one reason de Heer now has an edge on most local directors is that he’s had more opportunities to practice his craft: he’s turned out ten feature films since 1. Australia except Paul Cox. It’s also probable that some credit should go to his current team of technical collaborators – particularly Ian Jones, whose widescreen cinematography is as vital to Alexandra’s Project as it was to The Tracker. In any case, the first section of Alexandra’s Project is a highly accomplished piece of filmmaking –despite or because of its apparent lack of drama. For half an hour of screen time we follow a day in the life of the couple we’re introduced to at the outset, Steve (Gary Sweet) and Alexandra (Helen Buday) along with their primary- school- age children Emma (Samantha Knigge) and Sam (Jock Christie). While there’s clearly tension between Alexandra and Steve, on the surface the only thing out of the ordinary is that it happens to be Steve’s birthday; the children give him their presents before he leaves for work, and de Heer then cross- cuts between Steve at the office (where he receives a promotion) and Alexandra and the kids at home (where they prepare a mysterious “surprise”).

So far so unremarkable, but de Heer’s achievement in this section depends precisely on what he leaves out: everything we see and hear is imbued with a weighty, unspecified sense of dread. Restless, circling camera movements alternate with mysteriously urgent close- ups of household objects (a light switch, a toaster); when Steve at work knocks over a photo of his kids, his slip has the weight of an omen. Above all, the family home – with its dark green walls, looming banisters and expensive electronic equipment – is made to feel more like a prison than a shelter from the outside world. After a century of Hollywood thrillers, de Heer’s controlled expressionism might not seem especially subtle or novel, yet it’s hard to deny the gripping effect of his stylistic moves: the abrupt gestures punctuating stretches of uneasy lassitude, the everyday noises mingling with an electronic soundscape, the contemplative moments when the camera tracks back from the human figures, suggesting their helplessness in a threatening environment.

Watch Alexandra's Project Full Movie Online Now! Latest movie of hd Alexandra's Project is Ready To Be Streamed Right Now! Women's designer clothing and accessories marked 70% - 90% off retail prices. Exclusively designer label consignment in the heart of downtown Seattle. Alexandra's Project - Returning home from work, a man (Gary Sweet) finds a videotape that has disturbing revelations from his vengeful wife (Helen Buday). Find great deals on eBay for alexandra's project. Shop with confidence. The Lady Vanishes: Alexandra’s Project and Rolf de Heer. Jake Wilson. May 2003. Australian Contemporary Cinema. Issue 26. Opening credits on a black background.

If this style retains a level of B- movie corn as a low- budget, ‘homemade’ adaptation of a familiar commercial syntax, the apparent mismatch of style and content also generates a special frisson, as if an episode of “Neighbours” were shot in the manner of Ringu (Hideo Nakata, 1. Lost Highway (David Lynch, 1.

Without giving too much away at this point, it might be said that this clash enacts stylistically the emotional violence it foreshadows: a setting as homely as the party decorations made by the children (the coloured paper- chains and banner that says “Happy Birthday Dad”) is lingered upon and toyed with until it seems like a fragile mask for some horrific truth. Yet at crucial moments, the style also moves towards abstraction, as if to hint that the ambiguities of this set- up might count for more than any later clarity. One such passage occurs just after Alexandra has sent her children away in a taxi: standing with her back to the front door, she projects a mixture of hesitation and relief, as if pondering the significance of what she is about to do. Then, as she flicks a switch that automatically closes the blinds, shafts of light play across her face, and for a second the image itself seems to slip its moorings, as if the film strip in the projector had leapt the gate.

This is followed by a slow pan across a stretch of blank wall, dissolving to a shot of Alexandra in the shower; but before we see this we can already hear the sound of running water, mixed with her weeping.* * *If the first part of Alexandra’s Project skilfully keeps us in suspense, what follows depends on a series of revelations better experienced than described. If you haven’t seen the film, consider yourself warned.) This second movement begins when Steve arrives home anticipating a ‘surprise party’ and is startled to find that the house is deserted and the lights are out.

After some investigation he discovers that he’s been left an extra present, a videotape labelled (shades of Alice In Wonderland) “PLAY ME.” When Steve obediently slips it into the VCR he finds himself watching footage of his wife and children. Standing in an empty, blue- lit space, they once again wish him a happy birthday.“Yeah, yeah,” he mutters. Now tell me what’s going on.”But instead of providing explanations, Alexandra tells her husband to put her on pause, grab a beer from the fridge, come back and keep watching.

Viewers expecting a conventional narrative may feel an almost physical shock of disappointment at this juncture – as Alexandra on the screen dismisses the children, Steve settles back in his Jason recliner, and the realisation dawns that we are going to remain here, in front of the television, for a very long time. Some resentment seems justified: having lured us with the promise of further ‘cinematic’ shocks and surprises, the film now comes to a dead halt in front of a single, amateurishly framed video image. Every so often, Steve stops the tape and explores the house (now transformed into a shadowy, alien labyrinth) only to realise that he, too, is trapped: the locks have been changed, and there’s nothing he can do but return to his seat. This narrowing of focus fits with de Heer’s consistent strategy of tailoring his scripts to their low budgets, focusing on small groups of characters who are confined to suburban locations or set adrift in remote landscapes.

But it also seems like a formalist prank or a piece of feminist subversion – parodying all those hoary notions of the male gaze, the desire that carries us through narrative, and the fetishised body on the other side of the screen. Time to get serious? With artifice stripped away, we might presume that the film will now reveal its real thematic “project.” But as the video proceeds, it becomes clear that Alexandra has no intention of explaining what’s going on, or showing us her naked ‘true’ self.