Pacionsbo Absolutely Fantastic

KnotStronger This is a must-see and one of the best documentaries - and films - of this year.

Erica Derrick By the time the dramatic fireworks start popping off, each one feels earned.

Zandra The movie turns out to be a little better than the average. Starting from a romantic formula often seen in the cinema, it ends in the most predictable (and somewhat bland) way.

trilbytown I saw this on the Accent Underground release with the short films. I found the film at first boring and old fashioned and switched it off after the first hour - I was a little drunk and tired.I went to bed, and no kidding I had a nightmare about this film within half and hour of falling asleep. I couldn't stop thinking about why, so I got up, switched the TV back on, loaded the DVD and saw the rest of the movie.Well done Alex Frayne sir, you've managed to implant your film into this old, cynical movie goers head, and that takes doing. So 10 out of 10 to you.I can't say I 'love' this film of yours, but it has made a lasting impact despite its flaws and low budget etc.

carly_amir i saw this film at the Gold Coast Fantasy festival. the guy in the street with the beard who is yelling and has yucky spots all over his body is just gross.also the guy pouring petrol over the hut is pretty scary he looked pretty weird too. i don't know why the film is called modern love maybe its a love tale about the guy and his dad? maybe its that people don't know how to express it or something.overall it was better than i expected but not enough made sense for me, i actually thought it was going to be a romantic film and was a bit shocked when it tunred out to be something else. my b/f thought it was funny that I was scared. I don't want nightmares when i see a film but this movie is pretty flipped out.

linda hetzel Jingofighter I agree with some of your comments, but I have to disagree on a couple of things. First, this film is nothing like THE CARS THAT ATE Paris. Not IMHO. Nothing like it.I think the film had elements of surrealism, but I think the basic approach of the film maker is not "surrealist" per se. therefore its not really like CARS Paris, I think more like a weird Euro work, with some scenes bearing the hallmark of "wierd" not surreal.Secondly, I think the music by Heuzenroeder is brilliant. They used whistling, that old sound from Country and Western records, and its waaayyy better than most Aussie films which usually team the film maker up with a dumb sounding Indy band that the company wants to push.As for the name of the film - I don't know why it's called Modern Love, I was kinda hoping for David Bowie to appear dressed in drag and lipstick... opps I'm starting to show my age.

jitterbug1973 OK....so, by minute 15 in the film, there's still no dialogue.This film arrived to me in a padded sack from Down Under, with Sharpie encrypted info on the front. I am a programmer from a North American fest, and MOD LOVE was sent thru to me by our chief as a potential starter having preem'd at the far-away Moscow/Karlovy Vary interface.Straight away I thought "this film is not for us" (no dialogue by minute 15??) but kept watching anyway. Well, well, well. It built and built and built, and half way in I was involved in this film, because, like when you go to the zoo, at first you're reticent, but by the time you get to the dangerous snakes bit, you're totally 'there'.This film has a dangerousness, not at all like the much hyped WolF Creek, but because it is so totally 'other' in every way shape and form, and seems to weave a web made up of all the fantasies of most independent first-time helmers ie. - gloomy weather, red-neck intrigue, odd splicing, eerie music, and a plot which, though imperfect and basic, has a bit in common with one of the 'great Aussie Movies' ie The Cars That Ate Paris, by Wier. But MODERN LOVE is actually not really a very Aussie movie in the sense of Ocker-ishness and playful self-deprecation that pervades many of that country's films. It works on a more nightmarish realm from the start. No cell-phones, no brand names, no i-pods, no gritty urban middle/class angst - just a dude married to a good-looker, an old Volvo, and a little boy (son) who has weird teeth and chucks stuff around. Oh and it's set in weird sea-side village where people all look slightly 'wrong.' Photographed by Nick Matthews (2:37) and music by Tom Huzenroeder (Ten Canoes) MOD LUV succeeds where many Aust. movies fail - ie it stands up without regard to the "god-forsaken" country that it comes out of. Instead, it revels in a warped but entertaining riddle which the film itself cannot solve - and herein lies the weak link...what on earth does this film have to do with "Modern Love"???? The final minutes of the film seem to give an answer, or at least hints at one....and as I sat and drank a coffee and ate my Hershey's afterwards, all that I could surmise was that this film's helmer, Alex Frayne, will prob have a lot of fun with this one./