Rule Of Law
Director Clara Law (“The Goddess of 1967”) has been set as president of the jury which will discern this year’s Asia Pacific Screen Awards. She will be joined by Malaysia’s Yeo Yann Yann, German producer Anna Katchko, and Faisal Baltyuor, producer and CEO of Muvi Studios in Saudi Arabia.
A separate jury for documentaries and animation will be headed by Taiwan-based Myanmar director Midi Z, India’s Rima Das and Japanese documentary maker Toda Hikaru.
The APSAs will be presented at a ceremony in Gold Coast, Queensland on Nov. 4 and be preceded by three days of seminars and screenings. The awards and forum are presented by the Asia Pacific Screen Academy, the City of Gold Coast, Screen Queensland, the Motion Picture Association and Griffith Film School, Griffith University. Nominations will be announced on Oct. 4.
Law, who has previously been based in Hong Kong and Macau,...
Director Clara Law (“The Goddess of 1967”) has been set as president of the jury which will discern this year’s Asia Pacific Screen Awards. She will be joined by Malaysia’s Yeo Yann Yann, German producer Anna Katchko, and Faisal Baltyuor, producer and CEO of Muvi Studios in Saudi Arabia.
A separate jury for documentaries and animation will be headed by Taiwan-based Myanmar director Midi Z, India’s Rima Das and Japanese documentary maker Toda Hikaru.
The APSAs will be presented at a ceremony in Gold Coast, Queensland on Nov. 4 and be preceded by three days of seminars and screenings. The awards and forum are presented by the Asia Pacific Screen Academy, the City of Gold Coast, Screen Queensland, the Motion Picture Association and Griffith Film School, Griffith University. Nominations will be announced on Oct. 4.
Law, who has previously been based in Hong Kong and Macau,...
- 9/21/2023
- by Patrick Frater
- Variety Film + TV
With Damon Gameau to deliver the visionary keynote address at this year’s Screen Forever conference, If speaks with the documentary filmmaker and Nida green ambassador about the important role storytelling can play in sustainability.
The post ‘Can we use our skills to educate, raise awareness and motivate action?’: Damon Gameau on storytelling for sustainability appeared first on If Magazine.
The post ‘Can we use our skills to educate, raise awareness and motivate action?’: Damon Gameau on storytelling for sustainability appeared first on If Magazine.
- 5/4/2023
- by jkeast
- IF.com.au
First published August 7th, 2022, on Substack and Patreon.
Don’t spend hours scrolling the menus at Netflix, Prime Video, and other movie services. I point you to the best new films and hidden gems to stream.
Movies included here may be available on services other than those mentioned, and in other regions, too. JustWatch and Reelgood are great for finding which films are on what streamers; you can customize each site so that it shows you only those services you have access to.
When you rent or purchase a film through the Prime Video and Apple links here, I get a small affiliate fee that helps support my work. Please use them if you can! (Affiliate fees do not increase your cost.)
both sides of the pond
It’s been a miserable summer in the northern hemisphere of record-breaking wildfires, heatwaves, floods and droughts, and yet even as incontrovertible evidence...
Don’t spend hours scrolling the menus at Netflix, Prime Video, and other movie services. I point you to the best new films and hidden gems to stream.
Movies included here may be available on services other than those mentioned, and in other regions, too. JustWatch and Reelgood are great for finding which films are on what streamers; you can customize each site so that it shows you only those services you have access to.
When you rent or purchase a film through the Prime Video and Apple links here, I get a small affiliate fee that helps support my work. Please use them if you can! (Affiliate fees do not increase your cost.)
both sides of the pond
It’s been a miserable summer in the northern hemisphere of record-breaking wildfires, heatwaves, floods and droughts, and yet even as incontrovertible evidence...
- 9/6/2022
- by MaryAnn Johanson
- www.flickfilosopher.com
Hey, "Charmed" fans. Unfortunately, we have some bad news that we have to tell you in this article. It turns out that the people over at The CW have elected not to air the next, new episode 7 of Charmed's current season 4 tonight, April 22, 2022. We're not sure why The CW is doing this. We just know that they are. On a much brighter note, we can officially tell you guys that The CW does plan to air the new episode 7 next Friday night, April 29, 2022 in its usual, 7 pm central standard time slot. So, certainly be sure to remember that extremely important date and time. Write it down or something. Just don't forget it. We did find out what will be replacing Charmed in its 7 pm central standard time slot tonight. According to the TV guide listings, The CW is going to air a 2019 movie called, "2040." The CW's official description for it reads like this,...
- 4/22/2022
- by Andre Braddox
- OnTheFlix
"We can deal better with the world when we're connected to nature." Madman Films has debuted the first official trailer for an experimental documentary short film called Regenerating Australia, which is made by Damon Gameau, of the doc films That Sugar Film and 2040 previously. The film offers a vision of the future based on this proposal: "What would Australia look like in 2030 if we simply listened to the needs of its people." The film itself is "a hypothetical news report from 2030 based on interviews with Australians who were asked about their hopes & dreams for the future." It will be showing at events around Australia, and they suggest: "Bring your family & friends. And your ideas." This doc was made following the disastrous year of wildfires in Australia (see the doc Burning) and the need to evolve in order to address dire climate change issues. So far the response hasn't been encouraging,...
- 2/21/2022
- by Alex Billington
- firstshowing.net
The third annual Earth Focus Environmental Film Festival, and the first to take place virtually in light of the Covid-19 pandemic, kicks off tonight and runs through April 23 via Southern California’s flagship PBS stations PBS SoCal and Kcet along with national independent satellite network Link TV. The opening-night film is the West Coast premiere of Playing with Sharks, the extraordinary life story of pioneering scuba diver Valerie Taylor, who has dedicated her life to exposing the myth surrounding the fear of sharks.
The film documents her quest as well as history including her work on several films, among them 1975’s iconic Jaws. National Geographic Documentary Films acquired the film out of the 2021 Sundance Film Festival with plans to release it later this year. Following the 7 p.m. Pt screening I will moderate a conversation with Taylor, writer-director Sally Aitken and producer Bettina Dalton all joining me together from Australia.
The film documents her quest as well as history including her work on several films, among them 1975’s iconic Jaws. National Geographic Documentary Films acquired the film out of the 2021 Sundance Film Festival with plans to release it later this year. Following the 7 p.m. Pt screening I will moderate a conversation with Taylor, writer-director Sally Aitken and producer Bettina Dalton all joining me together from Australia.
- 4/12/2021
- by Pete Hammond
- Deadline Film + TV
‘The Faceless Man.’
With cinemas closed or operating at limited capacity in many markets, James Di Martino’s debut feature The Faceless Man is set to reach millions of people where they live – on multiple streaming platforms.
The writer-director’s horror movie inspired by harrowing personal experience will premiere on August 28 in English-speaking territories on Amazon Prime, Vimeo On Demand, Gumroad and Reelhouse.
In other deals negotiated by New York-based international sales agent Hewes Pictures, the movie starring Sophie Thurling, Lorin Kauffeld, Roger Ward and Andy McPhee will be released on digital platforms in the US by Freedom Cinema, followed by DVD.
Several months after the VOD premieres, it will screen on Tubi, the free, advertising-supported streaming platform owned by Fox Entertainment which operates in the US, the UK and Australia.
That means a long tail for the film which premiered last October at Monster Fest and had a limited release on eight screens,...
With cinemas closed or operating at limited capacity in many markets, James Di Martino’s debut feature The Faceless Man is set to reach millions of people where they live – on multiple streaming platforms.
The writer-director’s horror movie inspired by harrowing personal experience will premiere on August 28 in English-speaking territories on Amazon Prime, Vimeo On Demand, Gumroad and Reelhouse.
In other deals negotiated by New York-based international sales agent Hewes Pictures, the movie starring Sophie Thurling, Lorin Kauffeld, Roger Ward and Andy McPhee will be released on digital platforms in the US by Freedom Cinema, followed by DVD.
Several months after the VOD premieres, it will screen on Tubi, the free, advertising-supported streaming platform owned by Fox Entertainment which operates in the US, the UK and Australia.
That means a long tail for the film which premiered last October at Monster Fest and had a limited release on eight screens,...
- 8/16/2020
- by The IF Team
- IF.com.au
Damon Gameau and Anna Kaplan.
When filmmaker Damon Gameau and producer Anna Kaplan were casting around for names for their new production company, the word ‘regeneration’ was top of mind.
Hence was born Regen Studios with the mission to create and distribute content designed to help communities, cities, schools, governments and business to regenerate and replace what has been lost in precious resources.
Screen Australia is providing funding from the Enterprise program to enable Gameau and Kaplan to develop a business plan, build their slate and share their expertise as executive producers and consultants.
Continuing their collaboration after 2040 and That Sugar Film, the duo is developing several projects including an interactive documentary series and web platform with the passionate support of Leonardo DiCaprio, and a high-end short film that will draw on community listening to present a collective vision for Australia in 2030.
“Off the back of 2040 we saw the appetite people have for regenerative practices,...
When filmmaker Damon Gameau and producer Anna Kaplan were casting around for names for their new production company, the word ‘regeneration’ was top of mind.
Hence was born Regen Studios with the mission to create and distribute content designed to help communities, cities, schools, governments and business to regenerate and replace what has been lost in precious resources.
Screen Australia is providing funding from the Enterprise program to enable Gameau and Kaplan to develop a business plan, build their slate and share their expertise as executive producers and consultants.
Continuing their collaboration after 2040 and That Sugar Film, the duo is developing several projects including an interactive documentary series and web platform with the passionate support of Leonardo DiCaprio, and a high-end short film that will draw on community listening to present a collective vision for Australia in 2030.
“Off the back of 2040 we saw the appetite people have for regenerative practices,...
- 8/3/2020
- by The IF Team
- IF.com.au
"Everywhere you look, you will see incredible reasons for hope." Together Films has unveiled an official Us trailer for a documentary titled 2040, made by filmmaker Damon Gameau (of the doc That Sugar Film previously). It premiered at the Berlin Film Festival last year. Motivated by his 4-year-old daughter and concern for the planet she will inherit, Gameau embarks on a global journey to discover what the future of the planet could look like by the year 2040 if we embraced the best solutions already available to us, and shifted them rapidly into the mainstream. Guided by the voices of 100 child interviewees aged 6 to 11 who describe the kind of world they would like to see by the year 2040, Damon draws on the best minds from around the world across climate, economics, technology, civil society, education, agriculture to conjure a positive portrait of what "could be", instead of the dystopian future we are so often presented.
- 5/22/2020
- by Alex Billington
- firstshowing.net
Elements Post Production (Byron Bay) strives to be at the forefront of creativity, delivering to the highest industry standards with 4K + capabilities. Offering in-studio Edit, VFX, Colour and remote grading through Sohonet or Streambox for both long and short-form projects. Work onsite or offsite – you decide.
Colourist, Billy Wychgel, has over 20 years experience and is trusted and sought after for his creative and technical approach to cater to each individual project. Across the board of; commercials, online content, features, independent films, and documentaries; custom-built machines in the Linux grading facilities, enables high speeds with live playback. This entire pipeline, with Cumulus VFX , ensures end to end highest standards without compromise.
The collective industry experience and passion for quality is what drives the team of founders William Gammon, Billy Wychgel and Gabrielle Joosten forward, giving equal attention to large and small projects.
Possum Creek Studios
“I cannot speak highly enough about...
Colourist, Billy Wychgel, has over 20 years experience and is trusted and sought after for his creative and technical approach to cater to each individual project. Across the board of; commercials, online content, features, independent films, and documentaries; custom-built machines in the Linux grading facilities, enables high speeds with live playback. This entire pipeline, with Cumulus VFX , ensures end to end highest standards without compromise.
The collective industry experience and passion for quality is what drives the team of founders William Gammon, Billy Wychgel and Gabrielle Joosten forward, giving equal attention to large and small projects.
Possum Creek Studios
“I cannot speak highly enough about...
- 5/21/2020
- by The IF Team
- IF.com.au
Exclusive: Damon Gameau’s feature documentary 2040, which was a hit in Australia and New Zealand last year, grossing close to $1M, is set for a U.S. release via distributor Together Films.
The movie will launch June 5, coinciding with World Environment Day, as a virtual theatrical release, with the distributor looking to team with U.S. theatres and non-theatrical organizations to screen the film online. It will be accompanied by a week of live Q&As and panel discussions around its subject matter.
Motivated by his 4-year-old daughter and concern for the planet she will inherit, the film follows Gameau as he embarks on a global journey to discover what the future of the planet could look like by 2040 if we embraced the best solutions already available to us and shifted them rapidly into the mainstream.
Together Films Founder & CEO Sarah Mosses said: “We are extremely passionate about bringing 2040 to the U.
The movie will launch June 5, coinciding with World Environment Day, as a virtual theatrical release, with the distributor looking to team with U.S. theatres and non-theatrical organizations to screen the film online. It will be accompanied by a week of live Q&As and panel discussions around its subject matter.
Motivated by his 4-year-old daughter and concern for the planet she will inherit, the film follows Gameau as he embarks on a global journey to discover what the future of the planet could look like by 2040 if we embraced the best solutions already available to us and shifted them rapidly into the mainstream.
Together Films Founder & CEO Sarah Mosses said: “We are extremely passionate about bringing 2040 to the U.
- 5/6/2020
- by Tom Grater
- Deadline Film + TV
Distributor and cinema-on-demand platform FanForce has launched streaming service FanForce TV, with a focus on community-led viewing and online discussion of films.
With cinemas around the world shuttered in response to coronavirus, the aim of the platform is to bring the shared theatrical experience to the living room with a pay-per-view model that includes live-streamed Q&As and live chat.
“Community has always been at the heart of what we do at FanForce with our cinema-on-demand releases, but with the arrival of the coronavirus we were forced to reschedule over 250 cinema screenings with Q&As across 37 countries. So, we moved them online instead and rallied the directors and panelists to livestream their scheduled Q&As and take questions from the audience via live chat,” says founder Danny Lachevre.
“We’re hoping it will bring together audiences in a more intimate way than traditional streaming and video-on-demand platforms, especially those who...
With cinemas around the world shuttered in response to coronavirus, the aim of the platform is to bring the shared theatrical experience to the living room with a pay-per-view model that includes live-streamed Q&As and live chat.
“Community has always been at the heart of what we do at FanForce with our cinema-on-demand releases, but with the arrival of the coronavirus we were forced to reschedule over 250 cinema screenings with Q&As across 37 countries. So, we moved them online instead and rallied the directors and panelists to livestream their scheduled Q&As and take questions from the audience via live chat,” says founder Danny Lachevre.
“We’re hoping it will bring together audiences in a more intimate way than traditional streaming and video-on-demand platforms, especially those who...
- 4/6/2020
- by jkeast
- IF.com.au
‘I Met a Girl.’
Screen Australia is taking a slightly tougher position in evaluating feature film projects this year, while the agency is seeing a spike in feature documentary and high-end TV drama pitches.
There has been a slight drop in feature film funding applications, which could imply that fewer theatrical features will be funded, with some money diverted to docs, TV drama and online projects.
“We are still incredibly supportive of and committed to film but we are seeing some applications that are not strong enough,” Screen Australia head of content Sally Caplan tells If.
“The scripts may be good but the pathway to audiences and the financing may not necessarily have been thought through. We are being a bit tougher.”
According to Caplan the intention is to fund the development of fewer feature projects, an approach that is a “bit stricter” than previously.
The agency is getting a...
Screen Australia is taking a slightly tougher position in evaluating feature film projects this year, while the agency is seeing a spike in feature documentary and high-end TV drama pitches.
There has been a slight drop in feature film funding applications, which could imply that fewer theatrical features will be funded, with some money diverted to docs, TV drama and online projects.
“We are still incredibly supportive of and committed to film but we are seeing some applications that are not strong enough,” Screen Australia head of content Sally Caplan tells If.
“The scripts may be good but the pathway to audiences and the financing may not necessarily have been thought through. We are being a bit tougher.”
According to Caplan the intention is to fund the development of fewer feature projects, an approach that is a “bit stricter” than previously.
The agency is getting a...
- 1/28/2020
- by The IF Team
- IF.com.au
‘Ride Like a Girl.’
The Australian films and feature docs released in cinemas last year, including minor contributions from holdovers, generated more than $40.2 million.
While that trailed the 2018 total of $57.4 million, there are several positives for the screen production industry.
The not-so-good news for the broader screen sector is that the 2019 calendar year B.O. seems certain to fall below $1.2 billion for the first time since 2014.
Ten titles including three feature docs – Damon Gameau’s 2040, Richard Lowenstein’s Mystify: Michael Hutchence and Daniel Gordon’s The Australian Dream – each grossed more than $1 million.
Rachel Griffiths’ Ride Like a Girl was the stand-out, raking in $11.5 million. Arguably, Wayne Blair’s Top End Wedding ($5.2 million), Shawn Seet’s Storm Boy ($5 million) and Rachel Ward’s Palm Beach ($4.4 million) fulfilled their potential and reaped the benefits of wide releases and hefty marketing campaigns – a level of support denied to numerous local films.
The Australian films and feature docs released in cinemas last year, including minor contributions from holdovers, generated more than $40.2 million.
While that trailed the 2018 total of $57.4 million, there are several positives for the screen production industry.
The not-so-good news for the broader screen sector is that the 2019 calendar year B.O. seems certain to fall below $1.2 billion for the first time since 2014.
Ten titles including three feature docs – Damon Gameau’s 2040, Richard Lowenstein’s Mystify: Michael Hutchence and Daniel Gordon’s The Australian Dream – each grossed more than $1 million.
Rachel Griffiths’ Ride Like a Girl was the stand-out, raking in $11.5 million. Arguably, Wayne Blair’s Top End Wedding ($5.2 million), Shawn Seet’s Storm Boy ($5 million) and Rachel Ward’s Palm Beach ($4.4 million) fulfilled their potential and reaped the benefits of wide releases and hefty marketing campaigns – a level of support denied to numerous local films.
- 1/5/2020
- by The IF Team
- IF.com.au
Sam Neill. (Photo: Ross Coffey)
The Australian Academy of Cinema and Television Arts (Aacta) will next month bestow actor Sam Neill with its highest honour, the Longford Lyell Award.
First presented in 1968, the award honours Australian film pioneer Raymond Longford and his partner in filmmaking and life, Lottie Lyell. It recognises a person who has made an outstanding contribution to the enrichment of Australia’s screen environment and culture.
Neill joins previous recipients such as Peter Weir, Fred Schepisi, Jan Chapman, David Stratton, Don McAlpine, Al Clark, Jacki Weaver, Andrew Knight, Cate Blanchett, Phillip Noyce and most recently, Bryan Brown.
“I am very thrilled by this honour indeed,” said Neill. “And very surprised! Let me check just in case they’ve made a mistake…”
Neill made his feature debut in Roger Donaldson’s Sleeping Dogs in 1979, which led to a breakthrough role in Gillian Armstrong’s My Brilliant Career opposite Judy Davis.
The Australian Academy of Cinema and Television Arts (Aacta) will next month bestow actor Sam Neill with its highest honour, the Longford Lyell Award.
First presented in 1968, the award honours Australian film pioneer Raymond Longford and his partner in filmmaking and life, Lottie Lyell. It recognises a person who has made an outstanding contribution to the enrichment of Australia’s screen environment and culture.
Neill joins previous recipients such as Peter Weir, Fred Schepisi, Jan Chapman, David Stratton, Don McAlpine, Al Clark, Jacki Weaver, Andrew Knight, Cate Blanchett, Phillip Noyce and most recently, Bryan Brown.
“I am very thrilled by this honour indeed,” said Neill. “And very surprised! Let me check just in case they’ve made a mistake…”
Neill made his feature debut in Roger Donaldson’s Sleeping Dogs in 1979, which led to a breakthrough role in Gillian Armstrong’s My Brilliant Career opposite Judy Davis.
- 11/22/2019
- by jkeast
- IF.com.au
Damon Gameau explains why children are at the heart of 2040, his film about tackling the climate emergency – and why they’re its key audience, too
The eco documentary 2040 is a gentle antidote to environmental anxiety. Directed by Damon Gameau, it imagines a world 20 years from now, free from the climate crisis that’s gobbling up our globe. Committed to changing the nihilistic narrative surrounding climate change, Gameau takes his audience on a search for solutions and offers up a message of hope.
As 2040 is released, however, the doom and gloom of the climate crisis Gameau’s documentary takes pains to avoid is inescapable. Australia is ablaze. New South Wales, where he lives with his wife and two children, is experiencing the worst bushfires the country has ever seen. His daughter, to whom 2040 is dedicated, is unable to attend school. For Gameau, the irony of this tragedy stings. “Thousand of school...
The eco documentary 2040 is a gentle antidote to environmental anxiety. Directed by Damon Gameau, it imagines a world 20 years from now, free from the climate crisis that’s gobbling up our globe. Committed to changing the nihilistic narrative surrounding climate change, Gameau takes his audience on a search for solutions and offers up a message of hope.
As 2040 is released, however, the doom and gloom of the climate crisis Gameau’s documentary takes pains to avoid is inescapable. Australia is ablaze. New South Wales, where he lives with his wife and two children, is experiencing the worst bushfires the country has ever seen. His daughter, to whom 2040 is dedicated, is unable to attend school. For Gameau, the irony of this tragedy stings. “Thousand of school...
- 11/18/2019
- by Maeve Allen
- The Guardian - Film News
Also opening this weekend are ‘Le Mans ‘66’, ‘The Report’.
Universal’s romantic comedy Last Christmas is hoping to end the six-week run of Joker at the top of the UK box office this weekend.
Directed by Paul Feig, the film stars Emilia Clarke – a 2010 Screen Star of Tomorrow – as a woman whose despondency at working in a year-round Christmas store is alleviated by the arrival of an attractive young man, played by Henry Golding.
The film features the music of the late pop star George Michael, including the track which provides the title.
Christmas movies can be a lucrative market with the right messaging.
Universal’s romantic comedy Last Christmas is hoping to end the six-week run of Joker at the top of the UK box office this weekend.
Directed by Paul Feig, the film stars Emilia Clarke – a 2010 Screen Star of Tomorrow – as a woman whose despondency at working in a year-round Christmas store is alleviated by the arrival of an attractive young man, played by Henry Golding.
The film features the music of the late pop star George Michael, including the track which provides the title.
Christmas movies can be a lucrative market with the right messaging.
- 11/15/2019
- by 1101321¦Ben Dalton¦26¦
- ScreenDaily
Damon Gameau’s likable documentary charts the ways we tackle a climate emergency, from solar power to progressive farming
This interesting film by the Australian environmentalist Damon Gameau is an optimistic guide to the workable “regenerative” community projects that can help combat climate change. He imagines the great things that could happen by 2040, when his daughter will be a young woman. Gameau is clearly concerned to move his rhetoric away from anything righteously angry or confrontational – he doesn’t, for example, insist on immediate veganism, just a progressive lessening of meat-eating – and gives us an easygoing can-do approach in which there is no great emphasis on sacrifice and not even any obvious sense of emergency.
Related: A vision of 2040: everything we need for a sustainable world already exists...
This interesting film by the Australian environmentalist Damon Gameau is an optimistic guide to the workable “regenerative” community projects that can help combat climate change. He imagines the great things that could happen by 2040, when his daughter will be a young woman. Gameau is clearly concerned to move his rhetoric away from anything righteously angry or confrontational – he doesn’t, for example, insist on immediate veganism, just a progressive lessening of meat-eating – and gives us an easygoing can-do approach in which there is no great emphasis on sacrifice and not even any obvious sense of emergency.
Related: A vision of 2040: everything we need for a sustainable world already exists...
- 11/7/2019
- by Peter Bradshaw
- The Guardian - Film News
Top: Anthony Partos, Brett Aplin and Bryony Marks. Bottom: Caitlin Yeo, David Bridie.
Bryony Marks, Caitlin Yeo, Antony Partos, Brett Aplin and David Bridie have received three nominations each for the upcoming Screen Music Awards, staged by Apra Amcos and the Australian Guild of Screen Composers (Agcs).
They are among a group of 40 composers who have been nominated across 12 award categories, spanning more than 36 works. The awards will be held in late November in Melbourne, hosted by Justine Clarke.
Nominated for Best Feature Film Score of the Year is Yeo for Danger Close: The Battle of Long Tan, Partos and Dan Luscombe for I Am Mother; Aj True for Jirga and François Tétaz for Judy & Punch.
Yeo is also nominated for Best Television Theme for The Pacific: In the Wake of Captain Cook with Sam Neill and also the category of Best Music for an Advertisement, while Partos is nominated...
Bryony Marks, Caitlin Yeo, Antony Partos, Brett Aplin and David Bridie have received three nominations each for the upcoming Screen Music Awards, staged by Apra Amcos and the Australian Guild of Screen Composers (Agcs).
They are among a group of 40 composers who have been nominated across 12 award categories, spanning more than 36 works. The awards will be held in late November in Melbourne, hosted by Justine Clarke.
Nominated for Best Feature Film Score of the Year is Yeo for Danger Close: The Battle of Long Tan, Partos and Dan Luscombe for I Am Mother; Aj True for Jirga and François Tétaz for Judy & Punch.
Yeo is also nominated for Best Television Theme for The Pacific: In the Wake of Captain Cook with Sam Neill and also the category of Best Music for an Advertisement, while Partos is nominated...
- 10/16/2019
- by jkeast
- IF.com.au
The film depicts a potential future If climate solutions are adopted.
Together Films has acquired UK rights to Damon Gameau’s climate change documentary 2040.
The Australian film premiered out of competition in the family-friendly Generation Kplus section at the 2019 Berlinale. Together is planning a UK-wide theatrical release on November 15.
It will open the Into Film Festival on November 6 and play simultaneously for school students in 40 cinemas across the country.
In the new year, it will play as part of another campaign called ‘The Regeneration’, which invites people to learn about, contribute to, advocate for and invest in regenerative solutions to improve the planet.
Together Films has acquired UK rights to Damon Gameau’s climate change documentary 2040.
The Australian film premiered out of competition in the family-friendly Generation Kplus section at the 2019 Berlinale. Together is planning a UK-wide theatrical release on November 15.
It will open the Into Film Festival on November 6 and play simultaneously for school students in 40 cinemas across the country.
In the new year, it will play as part of another campaign called ‘The Regeneration’, which invites people to learn about, contribute to, advocate for and invest in regenerative solutions to improve the planet.
- 10/1/2019
- by Ben Dalton
- ScreenDaily
‘Ride Like a Girl’.
Graeme Mason recognises the structural challenges facing independent films but does not subscribe to the view that this is a down year for Australian cinema.
While the Screen Australia CEO acknowledges 2019 has yet to produce a breakout hit like Peter Rabbit, Lion or Ladies in Black, he rates the year to date as very successful on a number of fronts, including:
Seven films have each grossed each more than $1 million. Exhibitors have high hopes for Rachel Griffiths’ Ride Like a Girl, the Michelle Payne biopic staring Teresa Palmer, which Transmission Films launches on September 26; some pundits think it can make upwards of $10 million. The consistent popularity of feature doc such as Damon Gameau’s 2040 and Richard Lowenstein’s Mystify: Michael Hutchence. Australian films are making their marks at the Sundance, Venice and Toronto International Film Festivals. Shannon Murphy won the gig of directing two episodes of...
Graeme Mason recognises the structural challenges facing independent films but does not subscribe to the view that this is a down year for Australian cinema.
While the Screen Australia CEO acknowledges 2019 has yet to produce a breakout hit like Peter Rabbit, Lion or Ladies in Black, he rates the year to date as very successful on a number of fronts, including:
Seven films have each grossed each more than $1 million. Exhibitors have high hopes for Rachel Griffiths’ Ride Like a Girl, the Michelle Payne biopic staring Teresa Palmer, which Transmission Films launches on September 26; some pundits think it can make upwards of $10 million. The consistent popularity of feature doc such as Damon Gameau’s 2040 and Richard Lowenstein’s Mystify: Michael Hutchence. Australian films are making their marks at the Sundance, Venice and Toronto International Film Festivals. Shannon Murphy won the gig of directing two episodes of...
- 9/2/2019
- by The IF Team
- IF.com.au
‘Mystify: Michael Hutchence.’
The Australian Academy of Cinema and Television Arts (Aacta) has unveiled the first set of nominees for this year’s awards, announcing the five films that will compete for Best Documentary.
Two films detailing the racial vilification of former Sydney Swans captain and Australian of the Year Adam Goodes, Daniel Gordon’s The Australian Dream and Ian Darling’s The Final Quarter, will square off against other for the award.
Other nominees include Richard Lowenstein’s portrait of his late friend and Inxs frontman, Mystify: Michael Hutchence, which has made more than $1 million at the box office and screened at Tribeca and Hot Docs. Maya Newell’s In My Blood It Runs, which premiered in competition at Hot Docs, will also compete for the award, as will Janine Hosking’s portrait of concert pianist Geoffrey Tozer, The Eulogy.
‘The Australian Dream’.
A notable omission from the nominees...
The Australian Academy of Cinema and Television Arts (Aacta) has unveiled the first set of nominees for this year’s awards, announcing the five films that will compete for Best Documentary.
Two films detailing the racial vilification of former Sydney Swans captain and Australian of the Year Adam Goodes, Daniel Gordon’s The Australian Dream and Ian Darling’s The Final Quarter, will square off against other for the award.
Other nominees include Richard Lowenstein’s portrait of his late friend and Inxs frontman, Mystify: Michael Hutchence, which has made more than $1 million at the box office and screened at Tribeca and Hot Docs. Maya Newell’s In My Blood It Runs, which premiered in competition at Hot Docs, will also compete for the award, as will Janine Hosking’s portrait of concert pianist Geoffrey Tozer, The Eulogy.
‘The Australian Dream’.
A notable omission from the nominees...
- 8/21/2019
- by jkeast
- IF.com.au
‘Danger Close: The Battle of Long Tan.’
The box office results for the Australian films and feature docs released in cinemas this year underline yet again the deep polarisation in the indie film market between the higher earners and the also-rans.
The top five titles – Wayne Blair’s Top End Wedding, Shawn Seet’s Storm Boy, Anthony Marais’ Hotel Mumbai, Damon Gameau’s 2040 and Richard Lowenstein’s Mystify: Michael Hutchence – accounted for $15.8 million or 93 per cent of the Oz releases’ takings.
The Aussie films plus holdovers racked up nearly $17 million through the end of July, according to the Motion Picture Distributors Association of Australia.
That’s a long way below the $40.6 million generated in the same period last year, led by Peter Rabbit’s $26.6 million, Breath’s $4.4 million (finishing with $4.6 million) and Sweet Country’s $2 million.
Surveying the challenges facing the indie film business, Transmission Films’ Andrew Mackie tells If:...
The box office results for the Australian films and feature docs released in cinemas this year underline yet again the deep polarisation in the indie film market between the higher earners and the also-rans.
The top five titles – Wayne Blair’s Top End Wedding, Shawn Seet’s Storm Boy, Anthony Marais’ Hotel Mumbai, Damon Gameau’s 2040 and Richard Lowenstein’s Mystify: Michael Hutchence – accounted for $15.8 million or 93 per cent of the Oz releases’ takings.
The Aussie films plus holdovers racked up nearly $17 million through the end of July, according to the Motion Picture Distributors Association of Australia.
That’s a long way below the $40.6 million generated in the same period last year, led by Peter Rabbit’s $26.6 million, Breath’s $4.4 million (finishing with $4.6 million) and Sweet Country’s $2 million.
Surveying the challenges facing the indie film business, Transmission Films’ Andrew Mackie tells If:...
- 8/2/2019
- by The IF Team
- IF.com.au
‘Defend, Conserve, Protect.’
Disney’s The Lion King roared through its second weekend in Australia as the studio smashed its own annual global box office record set in 2016 last weekend.
Meanwhile Defend, Conserve, Protect, Stephen Amis’ feature doc which examines the long-running campaign to stop Japanese fishermen killing whales in the Southern Ocean, opened on seven screens in limited sessions.
Narrated by Dan Aykroyd and produced by Amis, Sea Shepherd Australia MD Jeff Hansen and Sea Shepherd colleague Omar Todd, the film fetched an estimated $7,200 but had already netted $37,000 from about 40 advance screenings and festivals.
The executive producer, Label Distribution’s Tait Brady, is happy with the reviews and media coverage and says the film will play through the end of the year with screenings for activists and community groups, after which he will negotiate ancillary deals.
He offered the film to several sales agents but they were wary of the anti-whaling stance.
Disney’s The Lion King roared through its second weekend in Australia as the studio smashed its own annual global box office record set in 2016 last weekend.
Meanwhile Defend, Conserve, Protect, Stephen Amis’ feature doc which examines the long-running campaign to stop Japanese fishermen killing whales in the Southern Ocean, opened on seven screens in limited sessions.
Narrated by Dan Aykroyd and produced by Amis, Sea Shepherd Australia MD Jeff Hansen and Sea Shepherd colleague Omar Todd, the film fetched an estimated $7,200 but had already netted $37,000 from about 40 advance screenings and festivals.
The executive producer, Label Distribution’s Tait Brady, is happy with the reviews and media coverage and says the film will play through the end of the year with screenings for activists and community groups, after which he will negotiate ancillary deals.
He offered the film to several sales agents but they were wary of the anti-whaling stance.
- 7/29/2019
- by The IF Team
- IF.com.au
Wayne Blair and Miranda Tapsell on the set of ‘Top End Wedding’.
Wayne Blair’s Top End Wedding has edged past Shawn Seet’s Storm Boy to rank as the highest grossing Australian film this year.
At the half way mark of the year, the Australian films and feature docs released in cinemas, plus holdovers, have racked up a modest $15.6 million, according to the Motion Picture Distributors Association of Australia.
That’s a long way below the $40 million generated in the same period last year, led by Peter Rabbit’s $26.6 million, Breath’s $4.4 million (finishing with $4.6 million) and Sweet Country’s $2 million.
So can the industry surpass or match the 2018 calendar year total of $57.4 million? That was the third biggest year ever behind 2001’s $63.1 million and the all-time record of 2015’s $88.1 million, the year of Mad Max: Fury Road, The Dressmaker and Oddball.
Exhibitors are optimistic about the outlook for the rest of the year,...
Wayne Blair’s Top End Wedding has edged past Shawn Seet’s Storm Boy to rank as the highest grossing Australian film this year.
At the half way mark of the year, the Australian films and feature docs released in cinemas, plus holdovers, have racked up a modest $15.6 million, according to the Motion Picture Distributors Association of Australia.
That’s a long way below the $40 million generated in the same period last year, led by Peter Rabbit’s $26.6 million, Breath’s $4.4 million (finishing with $4.6 million) and Sweet Country’s $2 million.
So can the industry surpass or match the 2018 calendar year total of $57.4 million? That was the third biggest year ever behind 2001’s $63.1 million and the all-time record of 2015’s $88.1 million, the year of Mad Max: Fury Road, The Dressmaker and Oddball.
Exhibitors are optimistic about the outlook for the rest of the year,...
- 7/2/2019
- by The IF Team
- IF.com.au
‘Yesterday.’
Universal/Working Title’s The Beatles-inspired musical romantic fantasy Yesterday charmed audiences in Australia last weekend, outperforming the Us and UK debuts.
The Danny Boyle-directed film written by Love Actually’s Richard Curtis entered Oz in second place behind the second frame of Disney/Pixar’s blockbuster Toy Story 4.
Starring Himesh Patel as a struggling songwriter who awakes after an accident in a parallel universe where no one had heard of the band and rips off their songs to propel himself to stardom, Yesterday rang up $3.4 million on 281 screens and $3.6 million with previews and the Sydney Film Festival screening.
That ranks as the biggest opening weekend for a Danny Boyle film and is in line with Bridget Jones’s Baby, The Best Exotic Marigold Hotel, The Intern and La La Land. Pro-rata, that eclipsed the estimated $US17 million opening in the Us and was well up...
Universal/Working Title’s The Beatles-inspired musical romantic fantasy Yesterday charmed audiences in Australia last weekend, outperforming the Us and UK debuts.
The Danny Boyle-directed film written by Love Actually’s Richard Curtis entered Oz in second place behind the second frame of Disney/Pixar’s blockbuster Toy Story 4.
Starring Himesh Patel as a struggling songwriter who awakes after an accident in a parallel universe where no one had heard of the band and rips off their songs to propel himself to stardom, Yesterday rang up $3.4 million on 281 screens and $3.6 million with previews and the Sydney Film Festival screening.
That ranks as the biggest opening weekend for a Danny Boyle film and is in line with Bridget Jones’s Baby, The Best Exotic Marigold Hotel, The Intern and La La Land. Pro-rata, that eclipsed the estimated $US17 million opening in the Us and was well up...
- 7/1/2019
- by The IF Team
- IF.com.au
‘Toy Story 4’ (Photo credit: Disney/Pixar).
The fourth installment in the Disney/Pixar Toy Story franchise has smashed the opening weekend record for an animated title worldwide, ending a run of sequels and reboots which audiences showed they did not want or need.
Directed by Josh Cooley, Toy Story 4 grabbed $244.5 million, beating Incredibles 2‘s $235.8 million, although the $120.9 million domestic debut was only the fourth biggest for the genre, trailing Incredibles 2 ($182 million), Finding Dory ($135 million) and Shrek the Third ($121 million).
It was a buoyant weekend in Oz as Toy Story 4 and Universal/Illumination’s The Secret Life of Pets sequel drew kids and families and fans of Indian cinema turned out for Kabir Singh and Shadaa.
However Child’s Play, the remake of the 1988 horror movie about a ghastly voodoo doll named Chucky, found few takers for Roadshow. Among the specialty releases, Sony’s Never Look Away...
The fourth installment in the Disney/Pixar Toy Story franchise has smashed the opening weekend record for an animated title worldwide, ending a run of sequels and reboots which audiences showed they did not want or need.
Directed by Josh Cooley, Toy Story 4 grabbed $244.5 million, beating Incredibles 2‘s $235.8 million, although the $120.9 million domestic debut was only the fourth biggest for the genre, trailing Incredibles 2 ($182 million), Finding Dory ($135 million) and Shrek the Third ($121 million).
It was a buoyant weekend in Oz as Toy Story 4 and Universal/Illumination’s The Secret Life of Pets sequel drew kids and families and fans of Indian cinema turned out for Kabir Singh and Shadaa.
However Child’s Play, the remake of the 1988 horror movie about a ghastly voodoo doll named Chucky, found few takers for Roadshow. Among the specialty releases, Sony’s Never Look Away...
- 6/24/2019
- by The IF Team
- IF.com.au
‘Men in Black: International.’
Sony Pictures and Amblin’s decision to reboot the Men in Black franchise without director Barry Sonnenfeld or stars Will Smith and Tommy Lee Jones, whose onscreen chemistry was crucial to the success of the first three editions, now seems questionable.
Chris Hemsworth and Tessa Thompson were a winning combo in Thor: Ragnarok and Avengers: Endgame but did not attract sizable audiences globally for Men in Black: International last weekend.
The F. Gary Gray-directed sci-fi comedy did open more strongly in Australia than in the Us and most other markets, almost certainly due to Hemsworth’s fan base, particularly among females, but it’s tracking far below all its predecessors.
Meanwhile Damon Gameau’s 2040 advanced to $871,000 after earning $73,000 in its fourth weekend, now on 68 screens, for Madman Entertainment. Wayne Blair’s Top End Wedding topped $5 million after taking $53,000 in its seventh frame for Universal.
The top 20 titles harvested $13 million,...
Sony Pictures and Amblin’s decision to reboot the Men in Black franchise without director Barry Sonnenfeld or stars Will Smith and Tommy Lee Jones, whose onscreen chemistry was crucial to the success of the first three editions, now seems questionable.
Chris Hemsworth and Tessa Thompson were a winning combo in Thor: Ragnarok and Avengers: Endgame but did not attract sizable audiences globally for Men in Black: International last weekend.
The F. Gary Gray-directed sci-fi comedy did open more strongly in Australia than in the Us and most other markets, almost certainly due to Hemsworth’s fan base, particularly among females, but it’s tracking far below all its predecessors.
Meanwhile Damon Gameau’s 2040 advanced to $871,000 after earning $73,000 in its fourth weekend, now on 68 screens, for Madman Entertainment. Wayne Blair’s Top End Wedding topped $5 million after taking $53,000 in its seventh frame for Universal.
The top 20 titles harvested $13 million,...
- 6/17/2019
- by The IF Team
- IF.com.au
Jennifer Lawrence as Mystique in ‘X-Men: Dark Phoenix.’
After 12 films in 20 years including sequels, prequels and spin-offs, the final edition of Fox’s X-Men franchise is a global disaster.
The Simon Kinberg-directed X—Men: Dark Phoenix posted the lowest debut ever for the series in the Us and Australia, in the latter entering in third spot behind Aladdin’s triumphant third weekend and Rocketman’s second.
Meanwhile Damon Gameau’s 2040 climbed to $780,000 after making $139,000 from Thursday-Monday on 86 screens in its third weekend for Madman Entertainment, easing by just 17 per cent. Wayne Blair’s Top End Wedding reached $4.9 million after taking $115,00 in its sixth for Universal.
In the Us pundits questioned the wisdom of entrusting the $200 million X-Men finale to a first-time director (albeit an experienced screenwriter and producer) and said the marketing campaign suffered in the handover from Fox to Disney. Apart from the rotten reviews, the fundamental problem...
After 12 films in 20 years including sequels, prequels and spin-offs, the final edition of Fox’s X-Men franchise is a global disaster.
The Simon Kinberg-directed X—Men: Dark Phoenix posted the lowest debut ever for the series in the Us and Australia, in the latter entering in third spot behind Aladdin’s triumphant third weekend and Rocketman’s second.
Meanwhile Damon Gameau’s 2040 climbed to $780,000 after making $139,000 from Thursday-Monday on 86 screens in its third weekend for Madman Entertainment, easing by just 17 per cent. Wayne Blair’s Top End Wedding reached $4.9 million after taking $115,00 in its sixth for Universal.
In the Us pundits questioned the wisdom of entrusting the $200 million X-Men finale to a first-time director (albeit an experienced screenwriter and producer) and said the marketing campaign suffered in the handover from Fox to Disney. Apart from the rotten reviews, the fundamental problem...
- 6/11/2019
- by The IF Team
- IF.com.au
‘2040’.
Five months into the year, 18 Australian films and feature docs released in cinemas since the start of the year, plus holdovers, have racked up a modest $14.3 million.
That compares with $37.6 million generated in the same period last year, led by Peter Rabbit’s $26.4 million, Breath’s $3.6 million in four weeks (finishing with $4.6 million) and Sweet Country’s $2 million.
Shawn Seet’s Storm Boy is the top title with nearly $5 million, a creditable result. But almost certainly that would have been rather higher if Sony Pictures had been able to use Geoffrey Rush in the publicity campaign.
Wayne Blair’s Top End Wedding has grossed $4.7 million through Sunday, its sixth weekend, and could finish with $5.5 million.
Anthony Maras’ Hotel Mumbai collected $3.3 million, knee-capped by the dreadful co-incidence of opening on the same weekend as the Christchurch massacre.
Damon Gameau’s 2040 has earned $568,000 after its second weekend and, buoyed by word-of-mouth, distributor...
Five months into the year, 18 Australian films and feature docs released in cinemas since the start of the year, plus holdovers, have racked up a modest $14.3 million.
That compares with $37.6 million generated in the same period last year, led by Peter Rabbit’s $26.4 million, Breath’s $3.6 million in four weeks (finishing with $4.6 million) and Sweet Country’s $2 million.
Shawn Seet’s Storm Boy is the top title with nearly $5 million, a creditable result. But almost certainly that would have been rather higher if Sony Pictures had been able to use Geoffrey Rush in the publicity campaign.
Wayne Blair’s Top End Wedding has grossed $4.7 million through Sunday, its sixth weekend, and could finish with $5.5 million.
Anthony Maras’ Hotel Mumbai collected $3.3 million, knee-capped by the dreadful co-incidence of opening on the same weekend as the Christchurch massacre.
Damon Gameau’s 2040 has earned $568,000 after its second weekend and, buoyed by word-of-mouth, distributor...
- 6/3/2019
- by The IF Team
- IF.com.au
‘Rocketman’
It’s fair to surmise there are far more Elton John fans in Australia than followers of the Godzilla franchise, judging by the opening weekends of Rocketman and Godzilla: King of the Monsters.
The Elton John biopic easily beat the Legendary Pictures/Warner Bros monsters movie, the reverse of their positions in the Us last weekend. However neither could catch the magical second weekend of Disney’s Aladdin.
Meanwhile Damon Gameau’s 2040 maintained momentum in its second weekend as Palace Cinemas extended their first weekend offer of free tickets to students on Saturday and Sunday, joined by some locations at Event Cinemas, Wallis Cinemas and independents. Screen Australia made a financial contribution to help distributor Madman Entertainment promote the incentive to students.
Gameau’s journey, which explores what the world could look like by 2040 if the best solutions already available to improve the planet are adopted, delivered $149,000 on 88 screens,...
It’s fair to surmise there are far more Elton John fans in Australia than followers of the Godzilla franchise, judging by the opening weekends of Rocketman and Godzilla: King of the Monsters.
The Elton John biopic easily beat the Legendary Pictures/Warner Bros monsters movie, the reverse of their positions in the Us last weekend. However neither could catch the magical second weekend of Disney’s Aladdin.
Meanwhile Damon Gameau’s 2040 maintained momentum in its second weekend as Palace Cinemas extended their first weekend offer of free tickets to students on Saturday and Sunday, joined by some locations at Event Cinemas, Wallis Cinemas and independents. Screen Australia made a financial contribution to help distributor Madman Entertainment promote the incentive to students.
Gameau’s journey, which explores what the world could look like by 2040 if the best solutions already available to improve the planet are adopted, delivered $149,000 on 88 screens,...
- 6/3/2019
- by The IF Team
- IF.com.au
Damon Gameau.
Disney’s live action update of 1992 animated blockbuster Aladdin cast its spell over cinemas in Australia and worldwide last weekend while Damon Gameau’s feature documentary 2040 attracted appreciative audiences and is positioned for a long run.
Gameau’s journey, which explores what the world could look like by 2040 if the best solutions already available to improve the planet are adopted, raked in $198,000 on 92 screens, which brings the total including extensive previews and festival screenings to $321,000.
Takings on Sunday were up 5 per cent on Saturday, reversing the usual trend. The Palace circuit, which offered free tickets to students aged up to 18 on Saturday and Sunday, accounted for more than 30 per cent of total admissions.
The distributor, Madman Entertainment MD Paul Wiegard expects a first-week take of $400,000, telling If: “The Sunday uptick is super encouraging, indicating the film is playing well with family audiences.
“We are very pleased with where the film has landed.
Disney’s live action update of 1992 animated blockbuster Aladdin cast its spell over cinemas in Australia and worldwide last weekend while Damon Gameau’s feature documentary 2040 attracted appreciative audiences and is positioned for a long run.
Gameau’s journey, which explores what the world could look like by 2040 if the best solutions already available to improve the planet are adopted, raked in $198,000 on 92 screens, which brings the total including extensive previews and festival screenings to $321,000.
Takings on Sunday were up 5 per cent on Saturday, reversing the usual trend. The Palace circuit, which offered free tickets to students aged up to 18 on Saturday and Sunday, accounted for more than 30 per cent of total admissions.
The distributor, Madman Entertainment MD Paul Wiegard expects a first-week take of $400,000, telling If: “The Sunday uptick is super encouraging, indicating the film is playing well with family audiences.
“We are very pleased with where the film has landed.
- 5/27/2019
- by The IF Team
- IF.com.au
‘2040.’
Madman Entertainment launched Damon Gameau’s innovative documentary 2040 on 95 screens today after grossing $130,000 from extensive paid previews and festival screenings.
“We are super confident the film will play well here and internationally,” Madman MD Paul Wiegard tells If. “The advance screenings were sold out and we have had a great run-up and support from exhibitors.”
Gameau’s journey to explore what the world could look like by 2040 if the best solutions already available to improve the planet are adopted has generated positive responses since the world premiere at the Berlin International Film Festival.
UK-based Metro Films International is fielding offers from buyers for the film produced by Gameau and Good Thing Productions’ Nick Batzias, Anna Kaplan and Virginia Whitwell.
The two options are a multi-territory deal or a patchwork of deals in individual territories, according to Wiegard, who expects sales to be finalised within a couple of weeks.
Noting that...
Madman Entertainment launched Damon Gameau’s innovative documentary 2040 on 95 screens today after grossing $130,000 from extensive paid previews and festival screenings.
“We are super confident the film will play well here and internationally,” Madman MD Paul Wiegard tells If. “The advance screenings were sold out and we have had a great run-up and support from exhibitors.”
Gameau’s journey to explore what the world could look like by 2040 if the best solutions already available to improve the planet are adopted has generated positive responses since the world premiere at the Berlin International Film Festival.
UK-based Metro Films International is fielding offers from buyers for the film produced by Gameau and Good Thing Productions’ Nick Batzias, Anna Kaplan and Virginia Whitwell.
The two options are a multi-territory deal or a patchwork of deals in individual territories, according to Wiegard, who expects sales to be finalised within a couple of weeks.
Noting that...
- 5/23/2019
- by The IF Team
- IF.com.au
‘John Wick: Chapter 3: Parabellum.
Defying the law of diminishing returns for sequels, the latest iteration of Lionsgate’s John Wick franchise made more money in its first weekend in Australia than the lifetime total of the previous edition.
Meanwhile Disney/Marvel’s Avengers: Endgame set new milestones in the Us and internationally and Wayne Blair’s Top End Wedding maintained momentum in its third weekend.
Bollywood romantic comedy De De Pyaar De had a respectable debut while Mike Leigh’s Peterloo and Spanish thriller The Realm tanked.
The top 20 titles generated $14.4 million, 13 per cent down on the previous weekend, according to Numero.
Released by Studiocanal, John Wick: Chapter 3 — Parabellum grabbed $4.1 million on 260 locations and $4.3 million including previews. That eclipsed the predecessor which opened with $1.8 million in 2017 and ended up with $4.25 million.
Directed by series regular Chad Stahelski and starring Keanu Reeves, Halle Berry, Ian McShane and Angelica Huston,...
Defying the law of diminishing returns for sequels, the latest iteration of Lionsgate’s John Wick franchise made more money in its first weekend in Australia than the lifetime total of the previous edition.
Meanwhile Disney/Marvel’s Avengers: Endgame set new milestones in the Us and internationally and Wayne Blair’s Top End Wedding maintained momentum in its third weekend.
Bollywood romantic comedy De De Pyaar De had a respectable debut while Mike Leigh’s Peterloo and Spanish thriller The Realm tanked.
The top 20 titles generated $14.4 million, 13 per cent down on the previous weekend, according to Numero.
Released by Studiocanal, John Wick: Chapter 3 — Parabellum grabbed $4.1 million on 260 locations and $4.3 million including previews. That eclipsed the predecessor which opened with $1.8 million in 2017 and ended up with $4.25 million.
Directed by series regular Chad Stahelski and starring Keanu Reeves, Halle Berry, Ian McShane and Angelica Huston,...
- 5/20/2019
- by The IF Team
- IF.com.au
‘Top End Wedding’.
It’s been a quiet start for the year for Australian films at the national box office, particularly compared to last year when Peter Rabbit and Sweet Country were drawing crowds.
However exhibitors are very optimistic about the outlook for the rest of the year, including Wayne Blair’s Top End Wedding which opened yesterday, Rachel Ward’s Palm Beach and Kriv Stenders’ Danger Close: The Battle of Long Tan (both August 8) and Rachel Griffiths’ Ride Like a Girl (September 26).
Ten new releases plus holdovers collectively racked up $9.06 million through April 30, according to the Motion Picture Distributors Association of Australia.
That’s way below the first four months of 2018, which generated $32 million, with Will Gluck’s Peter Rabbit making $25.4 million en route to a final total of $26.7 million and Warwick Thornton’s Sweet Country $2 million.
Shawn Seet’s Storm Boy pocketed nearly $5 million, not a bad result,...
It’s been a quiet start for the year for Australian films at the national box office, particularly compared to last year when Peter Rabbit and Sweet Country were drawing crowds.
However exhibitors are very optimistic about the outlook for the rest of the year, including Wayne Blair’s Top End Wedding which opened yesterday, Rachel Ward’s Palm Beach and Kriv Stenders’ Danger Close: The Battle of Long Tan (both August 8) and Rachel Griffiths’ Ride Like a Girl (September 26).
Ten new releases plus holdovers collectively racked up $9.06 million through April 30, according to the Motion Picture Distributors Association of Australia.
That’s way below the first four months of 2018, which generated $32 million, with Will Gluck’s Peter Rabbit making $25.4 million en route to a final total of $26.7 million and Warwick Thornton’s Sweet Country $2 million.
Shawn Seet’s Storm Boy pocketed nearly $5 million, not a bad result,...
- 5/3/2019
- by The IF Team
- IF.com.au
Damon Gameau’s upbeat documentary predicts our best selves saving the planet but would have been better as a TV series
Nobody predicted the immense success of Australian Damon Gameau’s 2015 directorial debut, That Sugar Film, a candy-coloured, Supersize Me-esque documentary exploring the effects of consuming sugar while on a supposedly healthy diet. It was a smash hit in its home country, becoming the highest grossing non-Imax Australian documentary in history (since overtaken by Jennifer Peedom’s majestic 2017 doco Mountain).
Perhaps we shouldn’t have been surprised. Gameau took an issue relevant across cultures and demographics, and prised it open with a broadly accessible style that neither bored nor talked down to young people – who form much of his target demographic.
Nobody predicted the immense success of Australian Damon Gameau’s 2015 directorial debut, That Sugar Film, a candy-coloured, Supersize Me-esque documentary exploring the effects of consuming sugar while on a supposedly healthy diet. It was a smash hit in its home country, becoming the highest grossing non-Imax Australian documentary in history (since overtaken by Jennifer Peedom’s majestic 2017 doco Mountain).
Perhaps we shouldn’t have been surprised. Gameau took an issue relevant across cultures and demographics, and prised it open with a broadly accessible style that neither bored nor talked down to young people – who form much of his target demographic.
- 4/4/2019
- by Luke Buckmaster
- The Guardian - Film News
‘Escape and Evasion’.
The Gold Coast Film Festival will open in early April with the Australian premiere of Damon Gameau’s 2040, and close with the world premiere of Storm Ashwood’s war film Escape and Evasion.
Good Thing Productions’ 2040 comes to the festival from its world premiere at the Berlin International Film Festival, where it screened as part of the Kplus section of the Generation program. Gameau will walk the red carpet, and the screening will be followed by a Q&A.
Escape and Evasion, produced by Blake Northfield for Bronte Pictures, was filmed on the Gold Coast in the Currumbin Valley. It explores the effects of post-traumatic stress disorder on a lone surviving soldier.
The Gold Coast Film Festival will this year screen some 107 films over 12 days, with three world premieres and 10 Australian premieres.
Among the other world premieres are Caitlin Farrugia and Michael Jones’ comedy drama Maybe Tomorrow,...
The Gold Coast Film Festival will open in early April with the Australian premiere of Damon Gameau’s 2040, and close with the world premiere of Storm Ashwood’s war film Escape and Evasion.
Good Thing Productions’ 2040 comes to the festival from its world premiere at the Berlin International Film Festival, where it screened as part of the Kplus section of the Generation program. Gameau will walk the red carpet, and the screening will be followed by a Q&A.
Escape and Evasion, produced by Blake Northfield for Bronte Pictures, was filmed on the Gold Coast in the Currumbin Valley. It explores the effects of post-traumatic stress disorder on a lone surviving soldier.
The Gold Coast Film Festival will this year screen some 107 films over 12 days, with three world premieres and 10 Australian premieres.
Among the other world premieres are Caitlin Farrugia and Michael Jones’ comedy drama Maybe Tomorrow,...
- 3/1/2019
- by jkeast
- IF.com.au
Bright-eyed Australian director Damon Gameau set out in his previous movie, “That Sugar Film” to challenge everyday thoughtlessness about the dangers of our modern lifestyle — and became profoundly sick while doing so. In his new film “2040,” which plays in Berlin’s Generation Kplus section and which he styles as a “hybrid feature documentary,” Gameau challenges us to improve the planet over the next 20 years. Leaving no room for world-weary cynicism, however, he shows that we already have the technology and skills to do it.
How’s your health?
“That Sugar Film” was four years ago. Fortunately, there’s no lasting liver damage.
Where did the idea for this visual letter to your daughter come from?
I wanted to explore what the future could look like by the year 2040 if we simply embraced the best solutions already available to us. The aim was to shift things away from the mainstream narrative,...
How’s your health?
“That Sugar Film” was four years ago. Fortunately, there’s no lasting liver damage.
Where did the idea for this visual letter to your daughter come from?
I wanted to explore what the future could look like by the year 2040 if we simply embraced the best solutions already available to us. The aim was to shift things away from the mainstream narrative,...
- 2/22/2019
- by Patrick Frater
- Variety Film + TV
Bright-eyed Australian director Damon Gameau set out in his previous movie, “That Sugar Film” to challenge everyday thoughtlessness about the dangers of our modern lifestyle — and became profoundly sick while doing so. In his new film “2040,” which plays in Berlin’s Generation Kplus section and which he styles as a “hybrid feature documentary,” Gameau challenges us to improve the planet over the next 20 years. Leaving no room for world-weary cynicism, however, he shows that we already have the technology and skills to do it.
How’s your health?
“That Sugar Film” was four years ago. Fortunately, there’s no lasting liver damage.
Where did the idea for this visual letter to your daughter come from?
I wanted to explore what the future could look like by the year 2040 if we simply embraced the best solutions already available to us. The aim was to shift things away from the mainstream narrative,...
How’s your health?
“That Sugar Film” was four years ago. Fortunately, there’s no lasting liver damage.
Where did the idea for this visual letter to your daughter come from?
I wanted to explore what the future could look like by the year 2040 if we simply embraced the best solutions already available to us. The aim was to shift things away from the mainstream narrative,...
- 2/14/2019
- by Patrick Frater
- Variety Film + TV
‘2040’
The world premiere of Damon Gameau’s innovative documentary 2040 at the Berlin International Film Festival has elicited strong interest from international buyers and hugely positive responses from audiences.
The producers, Good Thing Productions’ Nick Batzias, Anna Kaplan and Virginia Whitwell, held off on doing pre-sales, figuring they would get better deals after the premiere in the Kplus section of the Generation program.
A three year self-described labour of love, 2040 takes the form of a visual letter from the filmmaker to his four-year-old daughter Velvet, showing her what the year 2040 could look like “if we simply embraced the best solutions that exist today.”
“We have had discussions with various platforms and distributors,” Gameau tells If on the line from Berlin. “Platforms are very open to having event screenings because they understand people want that experience. We are talking to a heap of people. There are some good options out there, including Netflix,...
The world premiere of Damon Gameau’s innovative documentary 2040 at the Berlin International Film Festival has elicited strong interest from international buyers and hugely positive responses from audiences.
The producers, Good Thing Productions’ Nick Batzias, Anna Kaplan and Virginia Whitwell, held off on doing pre-sales, figuring they would get better deals after the premiere in the Kplus section of the Generation program.
A three year self-described labour of love, 2040 takes the form of a visual letter from the filmmaker to his four-year-old daughter Velvet, showing her what the year 2040 could look like “if we simply embraced the best solutions that exist today.”
“We have had discussions with various platforms and distributors,” Gameau tells If on the line from Berlin. “Platforms are very open to having event screenings because they understand people want that experience. We are talking to a heap of people. There are some good options out there, including Netflix,...
- 2/13/2019
- by The IF Team
- IF.com.au
Kim Ingles.
Documentary producer Kim Ingles will join GoodThing Productions for 12 months as an associate impact producer, thanks to support from Film Victoria.
It is the first time a state screen agency has supported a placement dedicated to building expertise in impact producing.
GoodThing’s 2040, from director Damon Gameau, will have its world premiere at the Berlin International Film Festival this evening (Australian time). The film explores what the future would look like by the year 2040 if we embraced the solutions already available to us to improve our planet. It hopes to replicate the success of Gameau’s previous film, 2015’s That Sugar Film, which was at the time of release Australia’s highest grossing documentary feature (excluding IMAX), and which created national conversations around the impact of sugar on health and wellbeing. Its impact campaign was driven by Anna Kaplan, who is also leading the campaign for 2040.
Kaplan will...
Documentary producer Kim Ingles will join GoodThing Productions for 12 months as an associate impact producer, thanks to support from Film Victoria.
It is the first time a state screen agency has supported a placement dedicated to building expertise in impact producing.
GoodThing’s 2040, from director Damon Gameau, will have its world premiere at the Berlin International Film Festival this evening (Australian time). The film explores what the future would look like by the year 2040 if we embraced the solutions already available to us to improve our planet. It hopes to replicate the success of Gameau’s previous film, 2015’s That Sugar Film, which was at the time of release Australia’s highest grossing documentary feature (excluding IMAX), and which created national conversations around the impact of sugar on health and wellbeing. Its impact campaign was driven by Anna Kaplan, who is also leading the campaign for 2040.
Kaplan will...
- 2/11/2019
- by jkeast
- IF.com.au
Even from a quick glimpse at the teaser, it’s clear there’s something markedly different about 2040 than other environmentally focused documentaries. That essential difference soon becomes immediately apparent: optimism. Whereas most films touching on mankind’s not-exactly-stellar impact on Earth have illustrated how and why we’ve got about enough time to tweet a sad face emoji before the world ends, Damon Gameau presents a more hopeful alternative. As the Australian filmmaker says, it’s basically a “future that doesn’t have to be Blade Runner.”
Arranged as a visual letter to his 4-year-old daughter, 2040 — Gameau’s follow ...
Arranged as a visual letter to his 4-year-old daughter, 2040 — Gameau’s follow ...
Even from a quick glimpse at the teaser, it’s clear there’s something markedly different about 2040 than other environmentally focused documentaries. That essential difference soon becomes immediately apparent: optimism. Whereas most films touching on mankind’s not-exactly-stellar impact on Earth have illustrated how and why we’ve got about enough time to tweet a sad face emoji before the world ends, Damon Gameau presents a more hopeful alternative. As the Australian filmmaker says, it’s basically a “future that doesn’t have to be Blade Runner.”
Arranged as a visual letter to his 4-year-old daughter, 2040 — Gameau’s follow ...
Arranged as a visual letter to his 4-year-old daughter, 2040 — Gameau’s follow ...
She Who Must Be Loved.
Another four Australian projects have joined the line-up at the Berlin International Film Festival: feature documentary She Who Must Be Loved, 2015 film Tanna and two shorts, Blackbird and The Mermaids, Or Aiden in Wonderland.
As If has previously reported, Rodd Rathjen’s feature debut Buoyancy will also make its world premiere in Berlinale’s Panorama section, while Damon Gameau’s feature doc 2040 will screen in the Generation Kplus section.
She Who Must Be Loved will make its international premiere as part of Berlin’s NATIVe program, which celebrates Indigenous storytelling. The film is a portrait of Central Australian Aboriginal Media Association (Caama) and Imparja TV co-founder Freda Glynn, from director and daughter Erica Glynn and producer and granddaughter Tanith Glynn-Maloney. It first premiered at the Adelaide Film Festival last October, where it won the audience award, and will screen on Nitv later this year.
Benley...
Another four Australian projects have joined the line-up at the Berlin International Film Festival: feature documentary She Who Must Be Loved, 2015 film Tanna and two shorts, Blackbird and The Mermaids, Or Aiden in Wonderland.
As If has previously reported, Rodd Rathjen’s feature debut Buoyancy will also make its world premiere in Berlinale’s Panorama section, while Damon Gameau’s feature doc 2040 will screen in the Generation Kplus section.
She Who Must Be Loved will make its international premiere as part of Berlin’s NATIVe program, which celebrates Indigenous storytelling. The film is a portrait of Central Australian Aboriginal Media Association (Caama) and Imparja TV co-founder Freda Glynn, from director and daughter Erica Glynn and producer and granddaughter Tanith Glynn-Maloney. It first premiered at the Adelaide Film Festival last October, where it won the audience award, and will screen on Nitv later this year.
Benley...
- 1/24/2019
- by jkeast
- IF.com.au
Kea (Mony Ros), Chakra (Sarm Heng) and Rom Ran (Thanawut Kasro) in ‘Buoyancy’ © 2019 Causeway Films, photo credit: Rafael Winer.
Writer-director Rodd Rathjen’s debut feature Buoyancy, a drama set in rural Cambodia that follows Chakra, a 14-year-old boy enslaved on a fishing trawler, will have its world premiere at the Berlin International Film Festival.
Produced by Causeway Films’ Sam Jennings, Kristina Ceyton and Rita Walsh in association with Cambodia’s Anupheap Productions and Melbourne-based Definition Films, the film will screen in the Panorama section among 45 titles from 38 countries.
It is said to be the first feature film to shine a light on the crisis of trafficking and slavery in the fishing industries of South-East Asia.
As If reported, Damon Gameau’s feature doc 2040 will have its world premiere in Berlin’s Generation Kplus section.
Showcasing 29 features, 16 documentary formats and 19 directorial debuts, Panorama 2019 will present a controversial, political, and provocative program,...
Writer-director Rodd Rathjen’s debut feature Buoyancy, a drama set in rural Cambodia that follows Chakra, a 14-year-old boy enslaved on a fishing trawler, will have its world premiere at the Berlin International Film Festival.
Produced by Causeway Films’ Sam Jennings, Kristina Ceyton and Rita Walsh in association with Cambodia’s Anupheap Productions and Melbourne-based Definition Films, the film will screen in the Panorama section among 45 titles from 38 countries.
It is said to be the first feature film to shine a light on the crisis of trafficking and slavery in the fishing industries of South-East Asia.
As If reported, Damon Gameau’s feature doc 2040 will have its world premiere in Berlin’s Generation Kplus section.
Showcasing 29 features, 16 documentary formats and 19 directorial debuts, Panorama 2019 will present a controversial, political, and provocative program,...
- 1/21/2019
- by The IF Team
- IF.com.au
‘2040’
Damon Gameau’s innovative documentary 2040 will have its world premiere at next month’s Berlin International Film Festival.
Produced by Good Thing Productions’ Nick Batzias with Anna Kaplan and Virginia Whitwell, the film will screen in the Kplus section of the Generation program, which this this year is tagged: ‘Giving the Oppressed a Voice.’
A three year self-described labour of love, 2040 takes the form of a visual letter from the filmmaker to his four-year-old daughter Velvet, showing her what the year 2040 could look like “if we simply embraced the best solutions that exist today.”
He said: “The point is to tell a new and positive story about our future. We are creating a hub of solutions and actions that people can implement at home or at work.”
It will be his second appearance at the Berlinale where That Sugar Film screened in Generation in 2015. The festival said: “2040 combines elements of...
Damon Gameau’s innovative documentary 2040 will have its world premiere at next month’s Berlin International Film Festival.
Produced by Good Thing Productions’ Nick Batzias with Anna Kaplan and Virginia Whitwell, the film will screen in the Kplus section of the Generation program, which this this year is tagged: ‘Giving the Oppressed a Voice.’
A three year self-described labour of love, 2040 takes the form of a visual letter from the filmmaker to his four-year-old daughter Velvet, showing her what the year 2040 could look like “if we simply embraced the best solutions that exist today.”
He said: “The point is to tell a new and positive story about our future. We are creating a hub of solutions and actions that people can implement at home or at work.”
It will be his second appearance at the Berlinale where That Sugar Film screened in Generation in 2015. The festival said: “2040 combines elements of...
- 1/13/2019
- by The IF Team
- IF.com.au
Nicole Kidman in ‘Destroyer’
Director Karyn Kusama’s genre-bending film noir Destroyer, which stars Nicole Kidman as a haggard, damaged, undercover Lapd detective, will be released by Madman Entertainment.
The relapsed memory/non-linear tale is among a raft of high-profile titles which the distributor has acquired for 2019.
Annapurna Pictures will launch Destroyer, which co-stars Sebastian Stan, Toby Kebbell, Tatiana Maslany, Bradley Whitford, Jade Pettyjohn and Scoot McNairy, in New York and Los Angeles on Christmas Day, expanding in January.
“It’s a great piece of filmmaking with a remarkable performance by Nicole,” says Madman’s Paul Wiegard, who will launch the thriller on March 21, preceded by screenings at the St George Open Air Cinema in Sydney starting on January 28.
Kidman plays Erin Bell, who as a young cop worked undercover with a gang in the California desert with tragic results. Twenty later, when the leader of the gang re-emerges, she...
Director Karyn Kusama’s genre-bending film noir Destroyer, which stars Nicole Kidman as a haggard, damaged, undercover Lapd detective, will be released by Madman Entertainment.
The relapsed memory/non-linear tale is among a raft of high-profile titles which the distributor has acquired for 2019.
Annapurna Pictures will launch Destroyer, which co-stars Sebastian Stan, Toby Kebbell, Tatiana Maslany, Bradley Whitford, Jade Pettyjohn and Scoot McNairy, in New York and Los Angeles on Christmas Day, expanding in January.
“It’s a great piece of filmmaking with a remarkable performance by Nicole,” says Madman’s Paul Wiegard, who will launch the thriller on March 21, preceded by screenings at the St George Open Air Cinema in Sydney starting on January 28.
Kidman plays Erin Bell, who as a young cop worked undercover with a gang in the California desert with tragic results. Twenty later, when the leader of the gang re-emerges, she...
- 12/18/2018
- by The IF Team
- IF.com.au
'Jill Bilcock: Dancing the Invisible'.
16 projects will share in over $3.2 million from Film Victoria, including a feature-length portrait of veteran editor Jill Bilcock (Strictly Ballroom, Muriel.s Wedding, The Dressmaker).
Jill Bilcock: Dancing the Invisible is also being supported by Screen Australia. Likewise feature doc Leunig: A Tale in 16 .Parts, directed by Fell's Kasimir Burgess, and 2040, a highconcept hybrid documentary from Damon Gameau (That Sugar Film)..
10 television projects and one VOD project also received funding, including new seasons of Offspring, Wrong Girl and animation Jar Dwellers Sos. Film Vic will assist five trainees to work on Jar Dwellers at animation studio Viskatoons..
Another Victorian animation team, Chocolate Liberation Front (The Adventures of Figaro Pho) have also received funding for new series Larry the Wonderpug.
In documentaries, Wtfn.s Ask The Doctor for the ABC will look at the future of health care in Australia, December Media...
16 projects will share in over $3.2 million from Film Victoria, including a feature-length portrait of veteran editor Jill Bilcock (Strictly Ballroom, Muriel.s Wedding, The Dressmaker).
Jill Bilcock: Dancing the Invisible is also being supported by Screen Australia. Likewise feature doc Leunig: A Tale in 16 .Parts, directed by Fell's Kasimir Burgess, and 2040, a highconcept hybrid documentary from Damon Gameau (That Sugar Film)..
10 television projects and one VOD project also received funding, including new seasons of Offspring, Wrong Girl and animation Jar Dwellers Sos. Film Vic will assist five trainees to work on Jar Dwellers at animation studio Viskatoons..
Another Victorian animation team, Chocolate Liberation Front (The Adventures of Figaro Pho) have also received funding for new series Larry the Wonderpug.
In documentaries, Wtfn.s Ask The Doctor for the ABC will look at the future of health care in Australia, December Media...
- 4/12/2017
- by Staff Writer
- IF.com.au
'Leunig: A Tale in 16 Parts'..
Screen Australia has stumped up $1 million in production investment for seven new documentaries..
Among them is a new project from That Sugar Film.s Damon Gameau, 2040. The Madman film will see Gameau read a letter to his hypothetical daughter on her 21st birthday in 2040, exploring the moments since her birth that saw humanity introduce solutions to issues such as climate change, technology, gender equality and social justice.
Gameau will write and direct, while Nick Batzias and Anna Kaplan, who both worked on That Sugar Film, will produce. 2040 has also received Good Pitch and Film Victoria funding..
Madman are also handling.Leunig: A Tale in 16 Parts, which will see writer-director Kasimir Burgess (Fell) look into the life of cartoonist Michael Leunig.
Produced by Philippa Campey, the Film Camp project will see the artist, who is recovering from a near-fatal brain seizure, reflect on the experiences that have informed his work.
Screen Australia has stumped up $1 million in production investment for seven new documentaries..
Among them is a new project from That Sugar Film.s Damon Gameau, 2040. The Madman film will see Gameau read a letter to his hypothetical daughter on her 21st birthday in 2040, exploring the moments since her birth that saw humanity introduce solutions to issues such as climate change, technology, gender equality and social justice.
Gameau will write and direct, while Nick Batzias and Anna Kaplan, who both worked on That Sugar Film, will produce. 2040 has also received Good Pitch and Film Victoria funding..
Madman are also handling.Leunig: A Tale in 16 Parts, which will see writer-director Kasimir Burgess (Fell) look into the life of cartoonist Michael Leunig.
Produced by Philippa Campey, the Film Camp project will see the artist, who is recovering from a near-fatal brain seizure, reflect on the experiences that have informed his work.
- 4/12/2017
- by Staff Writer
- IF.com.au
David Hansen's Slingshot is one of the shorts to be featured in the Flickerfest iview collection.
Flickerfest has partnered with ABC iview to launch a collection of some of the best shorts from the festival.s 26 year history. .
.We're excited to be giving audiences around Australia the opportunity to view amazing short films from across the Festival, and Australian film makers a great new platform outside of the festival to share their work with Australian audiences,. said Flickerfest director Bronwyn Kidd.
Included in 25 films in the Flickerfest iview collection are: Vote Yes.directed by Nick Waterman starring Miranda Tapsell,. Damian Walshe-Howling's Suspended.starring Damon Gameau; and Florence Has Left The Building from director Mirrah Foulkes, starring Jacki Weaver.
The 26th Flickerfest will be held January 6 - 15th..
http://iview.abc.net.au/collection/flickerfest-best-of...
Flickerfest has partnered with ABC iview to launch a collection of some of the best shorts from the festival.s 26 year history. .
.We're excited to be giving audiences around Australia the opportunity to view amazing short films from across the Festival, and Australian film makers a great new platform outside of the festival to share their work with Australian audiences,. said Flickerfest director Bronwyn Kidd.
Included in 25 films in the Flickerfest iview collection are: Vote Yes.directed by Nick Waterman starring Miranda Tapsell,. Damian Walshe-Howling's Suspended.starring Damon Gameau; and Florence Has Left The Building from director Mirrah Foulkes, starring Jacki Weaver.
The 26th Flickerfest will be held January 6 - 15th..
http://iview.abc.net.au/collection/flickerfest-best-of...
- 11/2/2016
- by Staff Writer
- IF.com.au
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