Face it America’s Next Top Model is a prime cut from the reality TV beastie and cycle 11 promises to be as satisfying as the previous ten. One major bummer is the shows lame new theming in the form of the futuristic “Model Institute of Technology” and wait it comes complete with REALLY CHEAP lightening and SFX surprise surprise. But once you got over that, it’s the same familiar bitchin good time.

This is the first cycle where they haven’t included a token plus size model through to the first round. However we do have a returning character of the rampantly sexual lesbian. And better yet this time they’ve gone further, pushing the envelope on shock-value brilliance, by including a pre-op transgender contestant. Isis is technically still male, but she/he models better than most of the other contestants, it’s pure entertainment genius! I double dare you to say ANTM isn’t about acceptance and diversity.

Episode 2 Photo Shoot theme is ‘Political Voting Issues Made Sexy,’ I can’t wait to see waifs inappropriately pouting in picket lines and tackling extreme views. After all the best part of America’s Next Top Model is its ability to get a reaction and create hysteria.

Watch it Friday 7.30 on TV3.

Coco-avant Chanel is the biopic of Gabrielle “Coco” Chanel (1883-1971). A woman who could be called the most influential and innovative fashion designer to date, as Christian Dior put it: “With a black pullover and ten rows of pearls she revolutionized fashion.” But despite the film being about such an influential fashion figure, it cannot be considered simply a Fashionista flick. As expressed by Tautou, this film describes the destiny of a woman; it is not only for haute couture lovers. Chanel was born with an understanding of life and women that was totally ahead of her time. Her celebrity is all the more exceptional at the beginning of the 20th Century, as Chanel had to fight against conventions that were very paralysing for women.

The fact that this film doesn’t focus purely on the garments does open it up to a wider audience. Perhaps they should’ve made this a little more apparent in the promo material. As I wasn’t alone in being surprised with how much it focused on the love life of Coco. And I wasn’t alone in my disappointment judging by the mumbles coming from the audience on exiting the cinema. However the film is undoubtedly flawless in all elements of its construction. Most notably the brilliant costume designer Catherine Leterrier recreated a seamless and perfectly restrained style for the star lead Audrey Tautou who of course plays the part of Gabrielle "Coco" Chanel.

And just a warning, overall it feels a little on the slow side, but the film ends very abruptly. Skipping forward from Coco’s hat store it jumps straight to what we can only assume is her first full couture show. In the final catwalk show authentic outfits from the Chanel Conservatory were used for the models and Audrey Tautou wore a Chanel suit inspired by 'Mademoiselle' in the Sixties. As the models file past our heroine, we a 360degree angle of each design, due to the incredible framing and set design. Here we finally can see all of Chanel’s influences, which are only hinted at for the duration of film, come together. And they really do embody the design sensibility, which became and still forms the foundation of the classic Chanel look. So despite this endings brevity, the final sequence was easily my favourite out of the whole film, and worth seeing it for that alone.

LINKS :
Official film distributor site

Official Chanel Site

an archive of contemporary Chanel catwalk shows

This scene kinda sums up the films style of humour for me, the two male leads Simon (Joel Edgerton) and his ‘best mate’ Harry (Les Hill) are talking over an after work drink, Simon’s confesses he’s having problems with premature ejaculation. Harry sensitively responds saying - the problem isn’t premature-ejaculation, its delayed orgasm. Four good thrusts should be enough for any woman… Yes (arguably) subtler than an average American romcom, but lacking the clever wit, charm or the astute human insight, Tom Scott is so capable of.

Ironically Separation City has taken writer Tom Scott over 20years to craft, but the characters including the main character of Simon are fairly humdrum, occasional moments of sincerity shine out. But otherwise it felt overworked and excessively narrated. It is beautifully shot. Wellington feels warm and vividly alive even from under dripping umbrellas. The characters of the children, were highlights for me, especially the daughter of Pam and Simon, she’s decidedly oddball and super cute complete with all her front teeth missing.

Where the male characters and for the most part their performances were disappointing stereotypes, the female roles minor as they are feel less clichéd due to some acting brilliance from We were able to hear what Danielle Cormack thoughts were on Separation City. Honest, charming and lucky enough to have played one of the only believable characters. I asked her if she liked her character… She said the character of Pam is someone she could relate to or more so admire. Her ability to understand, move past and forgive. Forgiveness is a very human strength.

It’s likely you’ll appreciate Separation City more, if you’ve been in a long marriage or partnership, Cormack agreed saying her mother really engaged with the film, she loved it, whereas a few of her friends engaged with it less. At the end of the day this film doesn’t promise to be more than a romcom, and on that it delivers. The story is really about the experience of falling out of love, from one man’s perspective. Definitely a good film for blokes and if you don’t over think it there are some good old-fashioned laugh out loud moments.

SEPARATION CITY
(M)
(107min)
Directed by Paul Middleditch.
Starring Joel Edgerton, Rhona Mitra, Danielle Cormack, Les Hill.