Good Afternoon

1971
55 Min.

IHRE BEWERTUNG

Füge eine Handlung in deiner Sprache hinzuGOOD AFTERNOON is a unique dual-screen documentary of the Aquarius Arts Festival of 1971, an 8 day 'happening' at the Australian National University, which featured arts, music and dance, ca... Alles lesenGOOD AFTERNOON is a unique dual-screen documentary of the Aquarius Arts Festival of 1971, an 8 day 'happening' at the Australian National University, which featured arts, music and dance, capturing the vibe of flower-powered chaos through the organisers, the participants and the ... Alles lesenGOOD AFTERNOON is a unique dual-screen documentary of the Aquarius Arts Festival of 1971, an 8 day 'happening' at the Australian National University, which featured arts, music and dance, capturing the vibe of flower-powered chaos through the organisers, the participants and the protests.

Regie
- Phillip Noyce
Hauptbesetzung
- Jeff Crozier
- The Wizard of New Zealand

Siehe Produktionsinformationen bei IMDbPro

IHRE BEWERTUNG

Regie
- Phillip Noyce
Hauptbesetzung
- Jeff Crozier
- The Wizard of New Zealand

1Benutzerrezension

Siehe Produktionsinformationen bei IMDbPro

Fotos

Topbesetzung2

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Jeff Crozier

Self

The Wizard of New Zealand

Self
(as Ian Channel)

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Handlung

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WUSSTEST DU SCHON:

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Wissenswertes
This film was made for double projection with two screens.

Verbindungen
Featured in Senses of Cinema (2022)

Benutzerrezensionen1

Rezension

Ausgewählte Rezension

Unique two-screen doco from Noyce in experimental mode

GOOD AFTERNOON is surely the most unique and ambitions film from Phil Noyce during his early pre-feature film period. While the word 'documentary' is accurate, it doesn't fully describe the innovation and vibe that Noyce captures with this film. Essentially a record of the 1971 Aquarius Arts Festival in Canberra, Noyce was funded by the Australian Union of Students to film this 8 day 'happening' at the Australian National University. Filming arts performances, musicians, artists, organisers, participants and protests, Noyce decided to frame the film as a two screen synchronised screening – one colour and one B&W, with sound moving between the frames as needed. He captures the vibe of flower-powered chaos brilliantly.