But Alexandr Sokurov’s third film about totalitarian leaders doesn’t depict anything that closely resembles the events leading up to Emperor Hirohito’s decision to renounce his divinity, after surrendering to Allied Forces. Nor does it depict the human trauma or morals involved. In fact, there is no real story here and at the end of the movie you know as much about the Japanese involvement in World War II as you did at the start.

The film is extremely slow moving and self-reflective. For most of the film Emperor Hirohito is silent, and the silences are drawn out. There is little character interaction, no heroes, no villains, no drama, and pretty much no outside life. And all of this combined says more about Hirohito’the man, the Emperor and the God?than one would read in any textbook or watch in any documentary.

The Sun is really an artistic film piece that is much more like a still but gently moving portrait of Emperor Hirohito and Japanese culture itself. It reveals the very nature of rituals, beliefs and customs and highlights the isolation that all of this creates.

If you’re not a fan of Gus Van Sant’s Gerry, you’re unlikely to enjoy this one. It’s an acquired taste and should come with a warning for those who want to avoid a night of masochism. It’s only if you can appreciate the meaning behind these film techniques that The Sun can be enjoyed.

Funky Forest: The First Contact plays like an amalgamation of short stories, but you kind of get the feeling that each character in each separate story lives in a small world, one that continuously threads through itself and through an interlinking higher subconscious. This may or may not be due to the underlying presence of aliens from Piko Riko, with whom everyone seems to either hear about or come into contact with.

Each story feels like a preparation for the next, so there’s no real displacement or distance between them. More so there’s a commonality of self sublimity, ridiculousness, and a deliberate madcap impetuousness that pulses, or impulses, throughout the entire film. This is cool and clever cinema. Its wit and brash humour make its abrupt, unexpected and seemingly pointless plotlines not only forgivable but an enhancement to the cinematic experience.

Watching Funky Forest: The First Contact makes you feel like you’re in a weird and surreal blend of dream, anime, computer game, life and a not so scary version of Hunter S. Thompson’s The Naked Lunch. This film is everything that’s fun and interesting about Japan. And for the Eeyore in all of us, it still has a lot of philosophical merit. That is, if you’re Freudian enough to interpret the dream states. Get seriously lost, and laugh that shocked, innocent laugh you haven’t had since you were a kid. Not recommended for the responsible adult in you.

After realising she’s in a loveless relationship, a dejected Kristilee encounters a series of nationals (all played by Craig Blundstone nee Wellington) whilst performing all over the Northern Hemisphere as a piano bar extraordinaire. As a consequence, Kristilee struggles to endure a world in which she seems to be the hapless victim.

The story and character based cabaret style of Ramblings really gives the show an extra element of entertainment. Kristilee has an exceptional, strong voice and Craig’s quick character adaptations are credible and endearing. They work in contrast yet complement each other. However, I thought the piano singer could have loosened up, embracing a cheekier nature and really playing it up for the audience. As for the actual performance delivery, both actors were strong, defined and obviously well rehearsed. This was their fifth or sixth performance for the night, and they certainly didn’t lack any enthusiasm. Kristilee and Craig also made great use of their space, showing us how to work a room with only a piano, a wooden chair, a couple of metres of crushed velour and a dressing screen.

Ramblings is comedy for the cultured. A well worked funny script with frequent laugh out loud moments.

There was a lot of good material, some funny anecdotes, grounded characters and a strong basis for masterful and desperately needed political comment. But all this would have worked better with more rehearsal, rewriting and some slight restructuring. The performers themselves seemed to be at home and talented within their individual characters but were noticeably insecure in their acts. It’s a hard task to find yourself alone in front of an audience, and things are a lot different when you’re on the other side of the stage, but the crucial part of any stand-up act is to make it look easy. Show no fear and let your character take command. It doesn’t really matter what it is you’re portraying on stage’if you don’t believe it yourself, then the audience won’t either.

There was a lot of missed opportunity, but the Ilbijerri Theatre Co-operative gave a promising performance that was worth watching.