When you hear the word “remote,” it doesn’t exactly conjure up feelings of prosperity, abundance and opportunity – feelings that we are told to look for in our chosen career paths. However, for some of us, not putting on suitable office attire (or even pants) and logging on from the comfort of our homes is a reality. There seems to be a mystique around the concept of working from home or being a “remote worker,” an illusion of pyjama-clad grandeur with an easy ride to comfortable success. But what does it really mean to throw off the shackles of a nine-to-five office job and take up residence in the sunniest corner of your home?
With the redundancy of the print edition of Massey University’s student magazine in the forefront of our minds, and an unbridled enthusiasm for negotiating the intersection between traditional and emerging technology, Sarah Ley-Hamilton tries to get a handle on the landscape of publishing in an increasingly digital world.
We Tweet, we Snapchat, we’re friends on Facebook and, hell, we even match on Tinder – but where has that left us? Navigating the social media swamp isn’t easy, and that raises the question: has technology really been helping or is it hindering our romantic pursuits?
The Wolfpack is the story of the six Angulo brothers, young men who grew up cloistered in a small New York City apartment under the lock and key of their oppressive father. Part interview, part observation, part home video footage. This illuminating documentary shows us, through unprecedented access, an unsettling (to put it mildly) glimpse in to a world that most of us could scarcely hope to comprehend.
I’ve always held a debatably morbid fascination with what one would call “romanticised” war-time dramas, although something of the premise of Phoenix indicated that this would be a distinctly refreshing (if one could even say that) treatment of a traumatic yet heavily nuanced period of history. Continue reading “Phoenix [Review]”→
This evening was the opening night of the NZIFF in Dunedin. The film that took out the spot for this premiere position was the highly commended (winning the honour of Best European Comedy in the 2014 European Film Awards) and darkly romantic comedy, The Mafia Kills Only in Summer (“La mafia uccide solo d’estate“).