O encanador estreava há 45 anos na Austrália. Vi umas análises de lutas de classes e me pareceu equivocado deixar o gênero de lado, se fosse apenas luta de classes Weir colocaria dois homens e não um homem e uma mulher cujo companheiro não crê no seu desconforto e prefere se alinhar com o outro - o fato dela ser antropóloga só reitera a questão de gênero na academia no século XX - a mulher acadêmica não é crível em suas considerações sobre o patriarcado e precisa agir para ser validada. YTS.

This little film is a little dated, but it has its qualities, especially in creating a tense atmosphere and its satisfying ending.

As much as I hate the jargony term intersectionality, there's nothing else that quite explains the genius of this work. But unlike the modern understanding of the word which has been whitewashed by privileged leftist navel-gazers, this film is a the true, unvarnished depiction of what it means for dominant social constructs to intersect. The film is a fascinating crucible where class, gender, and race clash leading to strife, discord, and fear. A hyperrealistic exploration of modern tribalism.

Exciting buildup, but never really amounts to anything crazy - Just more destruction. The very ending is great though.

Interesting, obscure movie Peter Weird made for TV. The plot is a very tense battle of mind game started by obnoxious plumber-cum-home invader Max, who seems to be determined to subtly drive the 'intellectual' woman first out of her personal space, and them out of her mind. Weir achieved a lot here in a very small setting.

It's a battle of wills between obnoxiousness and cowardice. Guess who wins? An overlooked little gem, in my opinion.

Doesn't quite hang together.

Real tension in an otherwise uninteresting plot.