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Bohemian Rhapsody Art Magazine, Stanley Grv, Melbourne (2026)

31/08/2026

VVS Films INVITE YOU TO WATCH :

BY ANY MEANS

in cinemas nationally on 3 September https://vvsfilms.com/movie/by-any-means/

please read our review:

By Any Means — When Survival Pushes People to Their Limits

By Any Means is the kind of film that reminds us how quickly ordinary life can become a struggle for survival.

What makes the film work is not simply the danger or the tension, but the human desperation underneath it. At its heart, this is a story about people pushed into circumstances where the choices in front of them become increasingly difficult, and where the difference between right and wrong can become painfully complicated.

The title says a lot.

By any means suggests determination, but it also carries something darker—the point at which desperation begins to change the way we see our choices.

The film understands that people rarely make their worst decisions when everything is going well. Fear, loss, pressure and desperation can bring out parts of us that we never knew existed. Someone who might normally be compassionate can become ruthless. Someone who believes they have strong principles can discover just how far they are willing to bend them when the people they love are threatened.

That is what makes the story feel human.

I appreciated that the characters aren’t simply divided into heroes and villains. There is a moral grey area running through the film, and that makes the tension much more effective. We are encouraged to understand why people do certain things without necessarily being asked to approve of them.

There is an important difference between understanding someone’s actions and excusing them, and By Any Means lives in that uncomfortable space.

The film also explores the idea of consequences. One decision rarely stays isolated. A choice made in desperation can create another problem, which demands another choice, which creates another consequence. Before long, people can find themselves trapped inside a chain of decisions they never imagined making.

That feels frighteningly real.

Life doesn’t always give us clean choices. Sometimes it gives us two bad options and asks us to decide which one we can live with.

And sometimes, even after making the choice, we still have to live with ourselves.

That’s where I found the film most affecting.

Behind the suspense is a story about fear—fear of losing someone, fear of failing, fear of being powerless, and perhaps most importantly, fear of having no options left. The strongest moments aren’t necessarily the loudest ones. They are the moments when you can feel a character realizing that there may be no going back.

The film’s tension comes from that emotional uncertainty as much as from the external circumstances.

What also stayed with me is the question of how far we should go for the people we love.

We often say that we would do anything for our family, our friends, or the people closest to us. It sounds noble when we say it in ordinary circumstances. But By Any Means asks what “anything” actually means when the stakes become real.

Would you compromise your principles?

Would you risk your future?

Would you hurt someone else?

Would you become someone you once believed you could never become?

There are no easy answers.

And that is precisely why the film has more weight than a straightforward thriller. It uses its suspense to explore something deeply recognizable: the human instinct to protect what matters to us, even when the cost becomes enormous.

I also liked the sense that survival in this story isn’t simply physical. There is another kind of survival happening—the struggle to hold on to your conscience, your identity and whatever remains of the person you were before everything went wrong.

Because sometimes the greatest danger isn’t what happens to us.

It is what circumstances can turn us into.

By Any Means ultimately left me thinking about the uncomfortable truth that morality is easiest to defend when life is comfortable. It is when everything is on the line that our beliefs are truly tested.

That doesn’t make the choices people make right or wrong.

It makes them human.

And that is what gives By Any Means its lasting impact. Beneath the suspense, danger and difficult decisions is a simple but powerful question:

How far would you go when there is nothing left to lose?

A tense, morally complicated and deeply human film about desperation, loyalty, survival and the price we sometimes pay for trying to protect the people we love.

31/08/2026

ICIP ICIP: Multicultural Networking Fun Day

by PERWIRA Inc and
City of Monash

on Sunday, 9 August
at Clayton Town Hal , Clayton

please follow review by Mina Mohamadi:

I had such a wonderful time attending this Indonesian cultural event. It was a beautiful celebration of Indonesian culture, bringing together delicious traditional food, music, performances, entertainment, and so many lovely people.

I really enjoyed experiencing the variety of Indonesian food and discovering different aspects of the culture. The performances and shows created such a fun and welcoming atmosphere, and the whole event felt vibrant, friendly, and full of positive energy.

It was a great opportunity to experience Indonesian culture in such a lively and enjoyable way. I’m very happy I had the chance to be part of it, and I would definitely recommend this event to anyone who loves food, culture, music, and discovering something new.

special thanks : Dien Wibisono

photography below : Ning Chan OF NingChan Photography and Reniel Torres of RGT Photography - Ren Torres
for Bohemian Rhapsody Art Magazine / Marquis Artbook

31/08/2026

Potential Films INVITE YOU TO WATCH :

The Party's Over! (Classe Moyenne)

in cinemas nationally on 27 August

please read our review:

The Party’s Over! (Classe Moyenne) — When Growing Up Means Seeing People Differently

There is something wonderfully uncomfortable about The Party’s Over! (Classe Moyenne).

At first, it seems like a film about class, relationships, awkward encounters and the invisible rules that govern the way people behave around one another. But underneath all of that is something much more personal: the painful process of growing up and realizing that the world—and the people in it—are far more complicated than we once believed.

What I liked most about the film is that it doesn’t turn its characters into simple representatives of social class. They are not merely “rich” or “poor,” privileged or disadvantaged. They are people, with insecurities, desires, pride, jealousy and contradictions. They say the wrong things. They misunderstand one another. They try to protect their dignity. And sometimes they hurt others without fully realizing why.

That feels remarkably close to real life.

The film understands that class differences are often most visible not in dramatic confrontations, but in small details: the way someone speaks, what they assume is normal, what they are embarrassed by, what they take for granted, or what they don’t even realize they have the privilege of taking for granted.

And that is where The Party’s Over! becomes particularly interesting.

It doesn’t simply ask who has more money. It asks who feels that they belong.

Belonging is one of the most powerful themes running through the film. We all know the feeling of entering a room and wondering whether we fit there. Sometimes the difference is economic. Sometimes it’s cultural. Sometimes it’s emotional. And sometimes the people making us feel like outsiders don’t even know they’re doing it.

The characters in this film are constantly negotiating that invisible boundary.

What makes the experience compelling is the film’s mixture of humour and discomfort. There are moments that are genuinely funny, but the laughter often comes with a little sting. You laugh because a situation is awkward, and then you realize that the awkwardness is revealing something much deeper about the people involved.

That balance gives the film its personality.

It also avoids the temptation to make everyone morally comfortable. There are moments when you may sympathize with one character, only to become frustrated with them later. Someone you initially dismiss may suddenly reveal a vulnerability that changes the way you see them.

That is life.

People are rarely consistent enough to fit neatly into categories.

The title, The Party’s Over!, carries a certain irony. A party is supposed to be a place where differences can temporarily disappear—a room where everyone is invited to have fun, flirt, talk and pretend that social boundaries don’t matter.

But eventually the party ends.

And when it does, people have to return to reality.

That idea gives the film a surprisingly bittersweet quality. Beneath the comedy is an awareness that youth, friendship and certain versions of ourselves are temporary. We eventually reach the point where we have to decide what kind of person we want to become, rather than simply accepting the identity that circumstances have given us.

I also appreciated the film’s willingness to embrace awkwardness. Some of the most truthful moments in human relationships are uncomfortable ones. We don’t always know what to say. We sometimes try too hard to impress people. We pretend not to care when we care enormously. We judge others because we are insecure about ourselves.

The film recognizes all of this without becoming overly sentimental.

And perhaps that is why The Party’s Over! feels more meaningful than its premise might initially suggest. It isn’t only about class differences. It is about the fragile ego we carry through life and the ways we try to convince ourselves that we belong.

By the end, what remains is not a simple lesson about privilege or social status. It is something more human.

We are all, in one way or another, trying to find our place.

We want to be accepted without having to pretend.

We want to be loved without feeling inferior.

We want to believe that our circumstances don’t define us.

And sometimes, the hardest thing is admitting how much other people’s opinions affect us.

The Party’s Over! finds humour in those uncomfortable truths while still treating its characters with enough compassion to make them feel real.

It is funny, awkward, observant and quietly revealing—a film about class that ultimately becomes a film about identity, insecurity, relationships and the complicated business of becoming an adult.

And perhaps the most honest thing about it is this:

Sometimes the party ending isn’t the sad part. The sad part is realizing that you were never quite sure whether you belonged there in the first place.

31/08/2026

Potential Films INVITE YOU TO WATCH :

BON VOYAGE, MARIE

in cinemas nationally on 30 July https://potentialfilms.com/contemporary-movies/bon-voyage-marie/

please read our review:

Bon Voyage, Marie — A Tender Film About Letting Go

Some films entertain you. Some films stay with you.

Bon Voyage, Marie is the kind of film that quietly settles somewhere inside you and refuses to leave.

What makes the film so affecting is its understanding of something we all eventually have to confront: letting go of someone we love does not mean we stop loving them. Sometimes love means holding on. Sometimes, painfully, love means accepting that we cannot.

There is a beautiful sadness running through Bon Voyage, Marie. The film doesn’t treat goodbye as a single moment. It understands that saying goodbye can take place over days, years, or even an entire lifetime. We can say the words long before our hearts are ready to accept them.

Marie feels less like a character constructed for a story and more like someone we might actually know—or perhaps someone we once were. There is vulnerability in her, but there is also strength. The film allows her to exist in all those contradictions that make people human: hopeful but frightened, loving but tired, attached but yearning for freedom.

And that humanity is what gives the film its emotional power.

I particularly appreciated how Bon Voyage, Marie doesn’t force its emotions upon the audience. It trusts quiet moments. A glance can say more than a speech. A pause can carry years of history. A seemingly ordinary interaction can suddenly feel heartbreaking because we understand that, beneath it, something is changing.

That restraint makes the emotional moments feel earned.

The film also made me think about the strange nature of memory. We don’t remember people exactly as they were. We remember fragments—their voice, a particular expression, a place we shared, something they said that seemed insignificant at the time but became meaningful years later. When someone leaves our lives, those fragments can become the things we hold closest.

In that sense, Bon Voyage, Marie is not simply about departure. It is about what remains after someone has gone.

There is also something deeply moving about the film’s refusal to make life overly neat. Real goodbyes rarely come with perfect closure. We don’t always get to say everything we wanted to say. We don’t always understand why things happened. Sometimes people leave while there are still questions between us.

And yet, life continues.

That can be both cruel and beautiful.

The title, Bon Voyage, Marie, carries that duality perfectly. It sounds almost cheerful on the surface—a warm wish for someone’s journey. But underneath those words is the ache of knowing that wishing someone well can sometimes be one of the hardest things we ever have to do.

The film reminded me that every person we love eventually changes, moves away, grows older, or becomes part of our past. We spend so much of our lives trying to hold on to moments that were never meant to last forever. Perhaps maturity is learning that impermanence doesn’t make those moments meaningless.

It makes them precious.

What I took from Bon Voyage, Marie is that goodbye is not necessarily the opposite of love. Sometimes goodbye is simply love acknowledging reality.

And maybe that is why the film feels so personal.

Because somewhere in our lives, we have all had a Marie.

Someone we weren’t ready to lose.

Someone whose absence changed the shape of our lives.

Someone we wished we could keep just a little longer.

Bon Voyage, Marie doesn’t promise that letting go won’t hurt. Instead, it offers something more honest: the possibility that we can carry the people we love with us, even after we have had to let them go.

A gentle, melancholic and deeply human film.

One that reminds us that some journeys are measured not by where we arrive, but by who we become after we finally say goodbye.

31/08/2026

VVS Films INVITES YOU TO WATCH :

RUNNER

in cinemas nationally on 10 September https://vvsfilms.com/movie/runner/

please read our review:

Runner — A Quiet, Uncomfortable Film About What It Means to Keep Going

Runner is the kind of film that doesn’t simply ask you to watch—it asks you to sit with what you’re seeing.

There is something deeply human at the centre of the film: the instinct to keep moving forward even when life has given you every reason to stop. Runner understands that survival is rarely heroic in the way cinema often portrays it. Sometimes survival is simply waking up, putting one foot in front of the other, and carrying things inside yourself that nobody else can see.

What stayed with me most was the film’s sense of emotional isolation. Its characters are not presented as perfect people making perfectly understandable choices. They feel wounded, complicated and, at times, difficult to understand. And that is precisely what makes them believable. The film allows people to be contradictory—to love and resent, to be afraid and courageous, to make mistakes and still desperately want another chance.

There is a rawness to Runner that makes it feel less like a conventional story and more like an observation of real human beings under pressure. The film doesn’t always give you comfortable answers, and I appreciated that. Some experiences simply cannot be neatly resolved. Sometimes all we can do is understand them a little better.

The title itself carries a beautiful ambiguity. A runner is someone who is moving toward something, but also potentially someone who is running away. Runner lives in that tension. Is moving forward the same thing as escaping? Can you really outrun your past? And if you finally stop, are you forced to confront everything you have been trying not to feel?

Those questions give the film an emotional weight that lingers beyond its runtime.

What I also admire is the restraint. Rather than constantly telling the audience what to feel, Runner leaves room for silence, uncertainty and interpretation. Some of its most affecting moments come from what remains unsaid. There is an understanding that pain doesn’t always announce itself loudly. Sometimes it exists in a look, a pause, a hesitation, or in the distance between two people who desperately want to connect.

That makes the film feel intimate.

It also makes it uncomfortable at times—and I mean that as a compliment. Good human drama shouldn’t always make us feel safe. It should occasionally make us recognize something in ourselves that we’d rather avoid. Runner has moments where you may find yourself judging a character, only to realize a few minutes later that their behaviour comes from a place of fear, grief, desperation or love.

And perhaps that’s the film’s greatest strength: it asks us to look at people as people, rather than simply deciding who is good and who is bad.

Visually and emotionally, the film carries a grounded quality that suits its story. There is no need for excessive spectacle when the real drama is happening internally. The filmmaking gives the characters enough space for their emotions to breathe, allowing the audience to become an observer rather than being pushed from one dramatic beat to another.

Runner won’t necessarily be an easy watch for everyone. It is not interested in providing simple comfort or tying every emotional thread into a perfect bow. But I think that is why it has staying power. Long after the credits, you find yourself thinking about the people you have met, the choices they made, and the things they were trying to outrun.

Ultimately, Runner is not just about running.

It is about why we run, what we’re carrying while we do it, and what happens when we finally find the courage—or are forced—to stop.

There is something profoundly human in that.

And for me, that is what makes Runner worth watching.

30/08/2026

BTS and teasers!

AUTOCLASSICO: VINTAGE WHEELS AND TIMELESS STYLE

event : Autoclassico VINTAGE AND RARE CARS SHOW by Maling Road Camberwell

on 30 August 2026

camera Kirsten D'Silva
Reniel Torres

models
Andrea Jaca Smith .jaca_ .house.of.beauty
Avelino Guterres
Cecilia Byrne
Edison Hernández Castrillón
Joey Vallance .au
Kylie Tatti
Natalya Volyanska
Tracy Davis
Mia Davis (p. Ian Davis)

fashion : models’ own vintage dresses for photoshoot and competition

assistant : Ian Davis

magazine: Marquis Artbook / Bohemian Rhapsody Weekly Magazine

casting/ organising : Natasha Marchev

special thanks : Peter Barclay of Malingroadautoclassico
and Giti & Hugh of Celkooh Alteration Dress Salon and Bridal at Theater Square Maling Road, Camberwell

Bohemian Rhapsody Art Magazine

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