2040 (2019), directed by Damon Gameau

Fearing for the future of the world his four-year-old daughter will inherit, Gameau set out to investigate solutions to our current environmental problems that are based on existing technology. He travels to Bangladesh, Sweden and North America, as well as Australia, to interview children about the kind of future they want and to examine projects that could make this possible. With clever use of visual effects, Gameau imagines what the world could become by 2040 if innovative programs were widely adopted in the areas of energy, transport and agriculture. He also touches on the obstacles to achieving such a future. The tone is positive and optimistic, demonstrating the many economic, social and environmental benefits of taking action. The clearest, simplest explanation of global warming is alone enough to make this film mandatory viewing for all politicians, but particularly those in denial of climate change. It offers hope amid all the dire prognostications for the world.

Blood Kin, by Ceridwen Dovey

A coup in an unnamed country has led to regime change. The deposed president is said to be guilty of terrible and brutal crimes. This kind of sweeping political change has been seen many times in many parts of the world, but what is the impact on the people who live through it and the families of those who don’t live through it? Dovey names none of her characters; there is the President, his barber, his chef, his portraitist, his barber’s brother’s fiancé, his chef’s daughter, his portraitist’s wife; the commander and various guards. All are described as such throughout – defined by their relationship to power. It turns out they are all closely linked, their lives intertwined. The book is divided into two main parts – first the men demonstrate the immediate consequences of the coup. Then the women in their lives provide a different perspective on their relationships and on the damage they have suffered because of them. A short third part goes back to the men for the unpleasant and depressing conclusion. The nation is not named either; it could be somewhere in Africa, somewhere in South America. It could be anywhere. This slim volume is not an easy read, as it precisely details how power corrupts no matter which douchebag is in charge. It is toxic masculinity writ large and it’s always the women who bear the brunt.

Making Friends with Alice Dyson, by Poppy Nwosu

Alice Dyson is a nerd with no social life who spends most of her time studying. She lives to please her distant parents, at least until the end of this final year at school. After that she has big plans that diverge significantly from theirs for her and will not please them. Two things disrupt Alice’s intentions for a studious final year. The first is her one friend May, who craves social success and drags Alice along in her wake. The second is dark and brooding bad boy Teddy Taualai, who is constantly in her face. As the year rolls on Alice steps out of her comfort zone in many ways, but ultimately remains true to herself. Nwosu’s book is sweet and funny, if not entirely credible. The relationships and actions seem more like those of kids aged 13-14, rather than 17-18, so the main characters don’t feel quite real. But their different setting in the northern suburbs of Adelaide and the understated multicultural crowd are delightful.

Pride (2014), directed by Matthew Warchus

It’s 1984 in Margaret Thatcher’s Britain. Miners are on a long-term strike all over the country and the authorities are cracking down with brutality. While grateful that the attention has been turned away from their community, a group of gays and lesbians in London decides to help out by raising funds for striking miners and their families. What follows is a sad, funny and moving tale of solidarity, acceptance and love as Lesbians and Gays for the Miners forge a bond with a South Wales mining community. A really strong ensemble cast includes the star power of Bill Nighy, Imelda Staunton and Dominic West in relatively minor roles. The likes of Faye Marsay, Paddy Considine, George MacKay and Andrew Scott, plus the shining talent of Ben Schnetzer as charismatic activist Mark Ashton add much value. The film is based on real people and a true story and has a killer 80s soundtrack. A second viewing does nothing to diminish the impact of a story that lingers.

Star Crossed, by Minnie Darke

Nick Jordan and Justine Carmichael were childhood besties until Nick’s family moved away from their country town. A reunion as awkward teens saw them kiss and part ways again, until they once more cross paths many years later in the almost fairy tale city of Alexandria Park. Aspiring journalist Justine has been slogging it out as a copygirl on a prestigious magazine for several years, on the promise that she is next in line. She is smart, cynical and rational to a fault. Aspiring actor Nick is guided by his horoscope, so it is too tempting for Justine to tweak her magazine’s stars to try to influence Nick in her direction. Unfortunately Nick’s interpretation of his stars doesn’t quite align with Justine’s intentions. The horoscope metaphors seem heavy handed to begin with, but they click into place as the story progresses, with little vignettes of random characters affected by Justine’s manipulation of one particular star sign. The vast array of characters affected almost becomes confusing, trying to keep track of who is who, but they all serve a purpose in small and large ways – even the dog! Darke cleverly brings all the threads together to create a satisfying end that does justify the means.

The Ink Stain, by Meg & Tom Keneally

Fresh from their exploits in Van Diemen’s Land, clerk Hugh Monsarrat and his housekeeper Hannah Mulrooney have no time to settle in at home in Parramatta. Instead the pair of former convicts is whisked down the river to Sydney to investigate the murder of a rabble-rousing newspaper editor. In this endeavour Governor Darling’s right-hand man Edward Duchamp and his entitled sister, Henrietta, thwart them at every turn. The new regime is more authoritarian and less progressive than those earlier, with a belief that all convicts are beyond redemption. This puts both Monsarrat and Mrs Mulrooney at risk in many ways as they navigate the complex politics of Sydney society. At the same time both are yearning; Monsarrat for his missing love and Hannah for her long lost son. This fourth instalment of the story set in 1820s Australia is probably the most entertaining, shining a light on the workings of the Governor’s mansion, the clergy and the press in the fledgling penal colony. Mrs Mulrooney has grown in confidence with the financial security of compensation from her previous adventure. This is somewhat overdone, as Monsarrat is made to look submissive to a ridiculous extent. But their relationships with others in the colony’s hierarchy are fascinating. As usual their next adventure is flagged at the end – off out west to hunt a serial killer and possibly find time for their own personal quests as well. Should be fun.