Alena Lodkina on ‘Petrol,’ Shooting Melbourne, Taking Audiences Down a Rabbit Hole
09.08.2022 - 17:09
/ variety.com
Screen Australia, VicScreen, the Melbourne International Film Festival Premiere Fund, SBS, and Orange Entertainment, takes its bow at the 75th Locarno Film Festival. In the evasively-titled “Petrol,” the Russian-born filmmaker turns her gaze towards the city she calls home: the film ascribes a certain kind of decadent mystique to Melbourne, where Lodkina has lived for the last 10 years.
“You don’t see cities portrayed in Australia that much,” the writer-director observes, “I think because people are drawn to the outback – as I was. But after ‘Strange Colours,’ it was an exciting prospect to film something in the place where I live.”“Petrol’s” Melbourne is as seen through the eyes of Eva (Nathalie Morris), a film student who yearns for the kinds of life experience that will ground and shape her artistic sensibility.
She finds a sort of guide, a muse, in the enigmatic multi-disciplinary artist Mia (Hannah Lynch), who invites the thoroughly enchanted Eva into her bohemian circle. Mia’s affections prove changeable, however, and she’s revealed to have inner demons that seem to be coming for Eva, too.
Between the dropped locket that brings the two women together and the film’s deliberate confusion of identities, Jacques Rivette’s existential 1974 romp “Celine and Julie Go Boating” presents itself as a key touchstone.So too Lewis Carroll’s archetypal tale of a girl who gets in over her head (from which “Celine and Julie” also takes cues): in “Petrol,” Eva’s curiosity leads her and the viewer alike “down the rabbit hole,” says Lodkina, and into a Melbourne touched with the uncanny. A computer glitch reveals a spectral silhouette, doors swing open and shut as if according to supernatural whim, and insights into the future are
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