Some of the best films I've seen have been small British films that didn't get a big run in the 'popular' cinemas. I thank the ANUFG for presenting films like Saving Grace and The Match Maker - which I would otherwise have missed. This could have been another.

It was made in 2007 and released in Australia in July 2008. When I did my research I learnt that its IMDb score is not too high but I think that says more about American audiences than the film. The written reviews give it much praise.

The film is based on an autobiographical novel about the relationship between a writer son and his dying father. We travel through 30 years of memories. "Superbly crafted film, great performances and genuinely touching" says one reviewer. Another says that the industry marketers don't like long titles, flashbacks and death and ageing which are the subjects, but this film is richer for all of that. Nothing that an intelligent ANUFG audience can't handle, although it might connect better with the older members of the audience, and more with males than females.

Is this a subject for a PhD comparing the relationships between fathers and sons, comparing how it is has changed over the years as fathers have become more involved, comparing a British culture with say the European or Asian experience?

Colin Firth is the biggest name in the cast but you will recognise a number of others from previous ensemble work. Juliet Stevenson is one, and I thought she was terrific in The Last Hangman screened in Semester 1 last year. Only 89 mins, but a gem I hope.

Hunger is the very impressive debut film from artist Steve McQueen (not that Steve McQueen). It deals with IRA prisoners in Belfast and their attempts to gain recognition as political prisoners through a hunger strike led by Bobby Sands.

This is a different kind of film, not relying so much on dialogue as it does on visuals. There is very little dialogue for the first 40 mins or so of the film and very little towards the end. McQueen instead uses visuals with an expert touch to convey his message. Splitting the two periods of little dialogue is a wonderfully scripted and acted 20 minute single take of a conversation between Bobby Sands and his parish priest on the ethics of hunger striking. This one conversation conveys much about the Bobby Sands character and is probably all the dialogue the film needs.

This film is not for the faint hearted: it shows the fate of prisoners along with the stresses that the prison guards are under and therefore is quite confronting at times. Ultimately this film shows what fanaticism can do to both parties in a conflict and how it dehumanises both sides. Sadly this is a message which will need reinforcing time and time again. This is a remarkable film; Steve McQueen's follow up will be eagerly anticipated.