The Triptych of Mondongo review – one part art documentary, two parts directorial megalomania

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What begins as a portrait of Argentinian art collective Mondongo snowballs into Mariano Llinás’s infuriatingly brilliant farrago of colour, conflict and existential crisis About as inside-baseball for visual arts as you can get, Mariano Llinás’s three-part portrait of Argentinian art collective Mondongo is knackering, infuriating and, infuriatingly, often brilliant – especially in its more sincere second instalment. The film nominally tries to document Mondongo’s 2021 Baptistery of Colours project , in which the artists catalogued the chromatic spectrum with plasticine blocks inside a dodecahedron chapel. But it quickly snowballs into Llinás’s own scattershot inquiry into colour and portraiture, a tone poem that ceaselessly interrogates its own tones, a crisis of faith about representation, and – as he falls out with artists Juliana Laffitte and Manuel Mendanha – a droll depiction of a director’s nervous breakdown. As Laffitte lets fly at him at one point, Llinás can never resist the...
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Magic Beach: how the beloved picture book became a spell-binding animation

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Alison Lester’s 90s bestseller now has a big-screen adaptation from the director of The Dry, featuring 10 animated adventures by 10 different artists

Two and a half hours south-east of Melbourne, in Walkerville South, lies one of Australia’s most beloved beaches. For the last 35 years it has enchanted children as the setting of Alison Lester’s bestselling picture book, Magic Beach – so, when it came to a film adaptation, an on-location shoot was a no-brainer.

“It casts a spell over you down there,” says the film’s director, Robert Connolly. While he was filming a scene, he recalls, one of the producer, Kate Laurie, “tapped me on the shoulder and said ‘that way’. We spun the camera around … and a pod of dolphins passed.”

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