person or book cover
Screen cap from promotional trailer
form y separately published work icon The Last Days of Chez Nous single work   film/TV  
Issue Details: First known date: 1991... 1991 The Last Days of Chez Nous
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AbstractHistoryArchive Description

Beth, a successful writer of great energy and humour, lives with her French husband, her daughter by a first marriage, and a lodger, in her inner-city home known as Chez Nous. Everyone gets along, despite some occasional tension, until Beth's much younger sister returns from overseas.

Notes

  • The promotional trailer for this film is available to view via YouTube: http://www.youtube.com/watch?v=3iZFGRldbgI (Sighted: 31/8/2012)

Publication Details of Only Known VersionEarliest 2 Known Versions of

Form: screenplay
VIEW PUBLICATION DETAILS FOR ALL VERSIONS ()

Works about this Work

Are there Really Angels in Carlton? Australian Literature and Theology Noel Rowe , 2008 single work criticism
— Appears in: Ethical Investigations : Essays on Australian Literature and Poetics 2008; (p. 30-59)
The 12th London Australian Film Festival Tamara Tracz , 2006 single work criticism
— Appears in: Senses of Cinema , July - September no. 40 2006;
Mother Is, Like, History Nicole Moore , 2006 single work criticism
— Appears in: Women Making Time: Contemporary Feminist Critique and Cultural Analysis 2006; (p. 172-190) A "speculative, questioning" work "compelled by a certain conflict between history and forgetting" (p.172).
Writing Place: Helen Garner's The Last Days of Chez Nous Vanessa Holcombe , 2005 single work criticism
— Appears in: Southerly , vol. 65 no. 1 2005; (p. 143-154) Vanessa Holcombe uses The Last Days of Chez Nous to 'look at how Garner imbues a screenplay with the notion of place, space and movement in order to convey her story, and how [film director] Gillian Armstrong works upon this.'
Aftershock and the Desert Landscape in Heaven's Burning, The Last Days of Chez Nous, Holy Smoke, Serenades, Yolgnu Boy and The Missing Felicity Collins , Therese Davis , 2004 single work criticism
— Appears in: Australian Cinema after Mabo 2004; (p. 75-93) In this chapter Collins and Davis 'are intersted in how a familiar icon of Australian cinema, the landscape (in particular the desert landscape, the outback), is suddenly made strange (unbearable even) by a historic event and how this raises questions to do with historical amnesia, shock and memory in a national cinema. In order to sneak up on on this post-Mabo experience of aftershock, we want to place these films in relation to threee critical categories which have been important in making sense of the ad hoc diversity of Australian films.' Source : Australian Cinema After Mabo (2004)
Second Look Peter Craven , 2004 single work review
— Appears in: The Sunday Age , 1 August 2004; (p. 23)
— Review of The Last Days of Chez Nous Helen Garner , 1991 single work film/TV
Two Aussie Battlers Dennis Bowers , 1992 single work review
— Appears in: Tirra Lirra , Summer vol. 3 no. 2 1992-1993; (p. 27-28)
— Review of Waiting Jackie McKimmie , 1991 single work film/TV ; The Last Days of Chez Nous Helen Garner , 1991 single work film/TV
A Few Too Many False Notes Des Partridge , 1992 single work review
— Appears in: The Courier-Mail , 3 October 1992; (p. wkd 8)
— Review of The Last Days of Chez Nous Helen Garner , 1991 single work film/TV
Days of Domestic Strife Stan James , 1992 single work review
— Appears in: The Advertiser Magazine , 10 October 1992; (p. 4)
— Review of The Last Days of Chez Nous Helen Garner , 1991 single work film/TV
Emotional Odyssey No Laughing Matter Mark Naglazas , 1992 single work review
— Appears in: The West Australian , 12 October 1992; (p. 40)
— Review of The Last Days of Chez Nous Helen Garner , 1991 single work film/TV
Writing Place: Helen Garner's The Last Days of Chez Nous Vanessa Holcombe , 2005 single work criticism
— Appears in: Southerly , vol. 65 no. 1 2005; (p. 143-154) Vanessa Holcombe uses The Last Days of Chez Nous to 'look at how Garner imbues a screenplay with the notion of place, space and movement in order to convey her story, and how [film director] Gillian Armstrong works upon this.'
Mother Is, Like, History Nicole Moore , 2006 single work criticism
— Appears in: Women Making Time: Contemporary Feminist Critique and Cultural Analysis 2006; (p. 172-190) A "speculative, questioning" work "compelled by a certain conflict between history and forgetting" (p.172).
Aftershock and the Desert Landscape in Heaven's Burning, The Last Days of Chez Nous, Holy Smoke, Serenades, Yolgnu Boy and The Missing Felicity Collins , Therese Davis , 2004 single work criticism
— Appears in: Australian Cinema after Mabo 2004; (p. 75-93) In this chapter Collins and Davis 'are intersted in how a familiar icon of Australian cinema, the landscape (in particular the desert landscape, the outback), is suddenly made strange (unbearable even) by a historic event and how this raises questions to do with historical amnesia, shock and memory in a national cinema. In order to sneak up on on this post-Mabo experience of aftershock, we want to place these films in relation to threee critical categories which have been important in making sense of the ad hoc diversity of Australian films.' Source : Australian Cinema After Mabo (2004)
Are there Really Angels in Carlton? Australian Literature and Theology Noel Rowe , 2008 single work criticism
— Appears in: Ethical Investigations : Essays on Australian Literature and Poetics 2008; (p. 30-59)
The 12th London Australian Film Festival Tamara Tracz , 2006 single work criticism
— Appears in: Senses of Cinema , July - September no. 40 2006;
VIEW ALL WORKS ABOUT (29)
Last amended 30 Aug 2017 10:12:52
Gillian Armstrong
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