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A bored small-town girl and a small-time bank robber leave in their wake a string of violent robberies and newspaper headlines that catch the imagination of the Depression-struck Mid-West in this take on the legendary crime spree of these archetypal lovers on the run.

Based on the true story of Australian pianist David Helfgott, this delightful movie charts the early and traumatic early years. Telling the story in flashback we see David as he grows up and into a child prodigy while his father abuses him and his siblings with the memory of his childhood in Europe and the loss of his family in the concentration camps. David finally breaks away from his father and goes away to study overseas, he later suffers a breakdown and returns to Australia and a life in an institution. Many years later he is released and through several twists of fate (in reality even more unlikely than film portrays) he starts playing a piano in a bar before finally returning to the concert hall.

With the 400th anniversary of Rembrandt’s birth in 2006, NIGHTWATCHING is truly a feast for the senses. Extravagant, suspenseful and sensuously beautiful, the mystery behind the extraordinary artist’s infamous painting is perfectly explored by one of the most iconic Directors of our time - Peter Greenaway. The year 1642 marks the turning point in the life of the famous Dutch painter, Rembrandt, turning him from a wealthy respected celebrity into a discredited pauper. At the insistence of his pregnant wife Saskia, Rembrandt has reluctantly agreed to paint the Amsterdam Musketeer Militia in a group portrait that will later become to be known as The Nightwatch. He soon discovers that there is a conspiracy afoot with the Amsterdam merchants playing at soldiers maneuvering for financial advantage and personal power in, that time, the richest city in the Western World. Rembrandt stumbles on a foul murder. Confident in the birth of a longed-for son and heir, Rembrandt is determined to expose the conspiring murderers and builds his accusation meticulously in the form of the commissioned painting, uncovering the seamy and hypocritical side to Dutch Society in the Golden Age. Rembrandt’s great good fortune turns. Saskia dies. Rembrandt reveals the accusation of murder in the painting and the conspirators plan revenge. They set out to discredit him at home and abroad. They plant a treacherous mistress, Geertje, to seduce him. They try to blind him. They plan his social and financial ruin, and to create the circumstances for his slide into penury, insult his young mistress Hendrickje, conspire to destroy his son, and bring Rembrandt to his knees. The bold and courageous painting of the Nightwatch, exceptional in aesthetics and content, is Rembrandt’s most celebrated painting, it consolidated his reputation as a master-painter but it also destroyed him socially and financially.

Nearly a decade after Cate Blanchett drew the attention of audiences and critics alike with ELIZABETH, the Oscar-winning actress returns to the role of the Virgin Queen. Though the protestant ruler has been on the throne for decades in 1585, Elizabeth I’s reign is still under attack from both inside her country and from the continent. Her cousin, Mary, Queen of Scots (Samantha Morton), carries the favour of the nation’s Catholics as she schemes for the throne from prison, while Spain’s King Philip II (Jordi Molla) plots an invasion with the power of his famous armada. But Elizabeth is also concerned with the arrival of Sir Walter Raleigh (Clive Owen), a charming pirate and adventurer. Unable to reconcile her feelings with her crown, she encourages Bess (Abbie Cornish), her beloved lady-in-waiting, to pursue a relationship with Raleigh.
Nine years haven’t dulled Blanchett’s ability to play this—or any other—character with an impressive range of fire and tenderness. Her chemistry with the infinitely watchable Owen is one of the film’s highlights. As in ELIZABETH, director Shekhar Kapur doesn’t restrict himself from using artfully constructed shots that aren’t normally used in period dramas. It’s a modern retelling of history, and Kapur and his director of photograpy, Remi Adefarasin, aren’t content to let the film have the standard look of many films in the genre. Costume designer Alexandra Byrne follows the same logic, creating stunning dresses for Elizabeth that draw inspiration both from modernity and the time period. If Blanchett weren’t such a gifted actress, the gorgeous costumes might threaten to overtake her as the star of the film.