A rich, young businessman travels to Australia with the intention of buying a 1967 Citroën DS. Once he arrives, things do not go to plan, and he must drive the DS into the outback alongside a blind young woman in order to track down its seller.
La déesse de 1967
I wasn’t going to review The Goddess of 1967. Not that it doesn’t deserve a glowing review, it’s just that I couldn’t really think of anything to say about it besides ‘It’s an absurd yet touching road trip’. What changed my mind is that I see only 51 people on Letterboxd, including Lise and me, have seen it.
Going way back to 1982, when a friend who was volunteering at TIFF ( then known as The Festival of Festivals ) took me to see Roger Donaldson’s Smash Palace is when my love of Aussie cinema began. A few years later in 1986, I saw Malcolm at the festival, a charming and hilarious tale from first time director Nadia Tass. In…
The film is an adventure. Through it's imagery and low tech approach to special effects, Clara Law crafts a world I've never been in before. Its got Rose Byrne, Rikiya Kurokawa, and this adorable little Citroën DS that has been dubbed Goddess by French car buffs. All I know is I want to go back.
The film has touched a strong sense of nostalgia for me. I'm really not sure if that's do to the 2000 era instant messaging, the music, the manic pixie cut on Byrne. It's almost this kind of nostalgia that you've never experienced personally but are still able to absorb. That's the power and magic of film and this is a film that captures it. This…
Worth watching for the phenomenal performance from a young and amazing Rose Byrne (seriously, she’s so good) and also the beautiful cinematography. The plot goes a bit haywire at times and ventures into extreme arthouse territory occasionally but overall it’s a very interesting and unique film filled with fantastic performances and a before its time aesthetic.
Some very strange, somewhat uneven, yet really effective stuff that goes into some very twisted places. It’s like Hiroshima mon amour meets Eureka. It really reminded men of the latter as they’re both road films exploring grief that were released in the same year. It’s hard for me to pin down exactly what I loved about this, other than that the two lead characters are fantastically likable and Rose Byrne (in her first leading role) is a revelation here and it’s understandable how she ended up having such a successful career. What a weird find this is.
March Around The World Film #2 - Australia
A road trip that criss-crosses timelines between a Young Japanese man’s quest to purchase the Goddess 1967 (a gorgeous pink Citroen) and a young blind woman’s reconciliation with her past. Clara Law’s surrealistic road trip through rural Australian takes Rikiya Kurokawa and Rose Byrne on personal journeys that unfold in parallel through pretty heartbreaking territory.
Visually stunning, colourful and quirky, Law balances the horror with humour and artistry in just the right way. You are engaged, moved and left feeling blessed to have spent two hours with these two special people. And there’s a wonderful dance scene I’m surprised I didn’t already know about.
This is one of Rose Byrne’s first features and she is absolutely magnificent.
Thank you Lise for the recommendation. It was pretty brilliant.
First time around, back in 2014, I gave this 4-1/2 stars. I loved it.
This time, not so much. It's not because I could anticipate what was coming; I remembered absolutely nothing about the film. Zilch. So what changed? I must have. While there were some fantastic scenes in here (some that looked Wong kar-wai-y, some that looked like they were out of a Guy Maddin film), they really stuck out because the rest of the film, but for some great landscape photography, was sort of ordinary.
And I wasn't such a fan of the story this time around. I loved the basic premise, but when it turned into a drama about family and abuse, well, it got repetitious and…
Traveling wildly through forbidden and forgotten landscapes and through different eras, encompassing different scenarios of either graphic or tacit brutality, Clara Law experiments with two endlessly contrasting characters in a futile search of any means that may represent the construction of an eternal oblivion. Like a haunting sample of artistic cinema gathering New Wave tendencies and a couple of remnants of old Czech experimentation, The Goddess of 1967 is a surrealistic triumph of Aussie cinema thanks to the vision of an underrated cinema heroin.
"I want to buy god"
96/100
not much of a movie but more like a series of hallucinatory journals, memories of emptiness that were once shattered pieces stitched together carefully with love. and dancing. i am very fond of dancing.
but anyway!! sometimes u just need a really emotive love movie in the background while admiring ur girlfriend and thinking about how much u love her and such
Положительный мошенник-японец находит в Австралии машину мечты, "Ситроен" 67-го года, но ее владельцы на радостях от покупки перестреляли друг друга. Осталась только слепая племянница, которая просит его проехать вместе через всю Австралию, чтобы найти еще одного наследника тачки. Молодая Роуз Бирн получила вполне заслуженный "Кубок Вольпи" в Венеции за главную роль, однако по итогам это довольно надуманный, морально устаревший артхаус, снятый через модные 20 лет назад ядовитые фильтры и с разъясняющими титрами-комментариями. Папашу-педофила Бирн играет Николас Хоуп из Bad Boy Bubby.
This film is an emotional whack on the head. It's thematically heavy with an array of issues like child abuse, murder, and incest but leaves you positively light when the credits roll.
this barely has ratings idk how, it was a pretty average indie with dreamy bright skies high color contrast, late nineties still hanging around with a plot turning slightly darkish.
Rose Byrn was a bubbly kinda of surreal surprise…she had pixie gf vibe going on
aAaAaAAllLLlllll over the place but I have to respect Law’s eccentric vision, I liked how the entire movie felt like a dream.
