Brave is the debut feature filmmaker who sets and shoots their independently-financed project across two continents, choosing not only to write and direct but produce and star.
But brave Genna Chanelle Hayes is. And it’s paid off – tonight, her film Akoni will open CinefestOZ Film Festival in a sold out screening in Augusta.
Starring UK actor Kit Esuruoso in the titular role, the film follows a homeless Nigerian refugee struggles to integrate into Australian society after escaping the clutches of Boko Haram. While living on the streets and on the receiving end of racist taunts from a group of drunken men, a young woman (Hayes) comes to his aid and offers him a place to stay. Struggling with her own heartbreak, she soon finds solace in her unlikely new companion as he opens her up to a world beyond her current life of modelling, parties and social media.
For Hayes,...
But brave Genna Chanelle Hayes is. And it’s paid off – tonight, her film Akoni will open CinefestOZ Film Festival in a sold out screening in Augusta.
Starring UK actor Kit Esuruoso in the titular role, the film follows a homeless Nigerian refugee struggles to integrate into Australian society after escaping the clutches of Boko Haram. While living on the streets and on the receiving end of racist taunts from a group of drunken men, a young woman (Hayes) comes to his aid and offers him a place to stay. Struggling with her own heartbreak, she soon finds solace in her unlikely new companion as he opens her up to a world beyond her current life of modelling, parties and social media.
For Hayes,...
- 8/25/2021
- by Jackie Keast
- IF.com.au
Melbourne-based private film finance group Elevate Production Finance has hired Shana Levine as head of production investment.
Levine joins other recent recruits in London-based film financier and producer Charles Auty, who is COO, and Brisbane-based entertainment and finance lawyer Ted Cawrey, who is head of legal and business affairs.
Epf MD Craig McMahon said Levine’s appointment would now mean the company could provide “superior end-to-end service to productions”.
Since launching in 2017, Elevate has helped fund a number of Australian and international films, including George Miller’s Three Thousand Years Of Longing; Rich Lee’s War Of The Worlds starring Eva Longoria; Liam-Neeson starrer Blacklight; Sophia Banks’ debut feature Black Site; and Film Nation’s Misanthrope, directed by Damián Szifron.
During the height of Covid-19, the company, which is backed by Australian and international institutions and private equity, reassessed its protocols to provide debt funding to productions despite the pandemic.
Levine joins other recent recruits in London-based film financier and producer Charles Auty, who is COO, and Brisbane-based entertainment and finance lawyer Ted Cawrey, who is head of legal and business affairs.
Epf MD Craig McMahon said Levine’s appointment would now mean the company could provide “superior end-to-end service to productions”.
Since launching in 2017, Elevate has helped fund a number of Australian and international films, including George Miller’s Three Thousand Years Of Longing; Rich Lee’s War Of The Worlds starring Eva Longoria; Liam-Neeson starrer Blacklight; Sophia Banks’ debut feature Black Site; and Film Nation’s Misanthrope, directed by Damián Szifron.
During the height of Covid-19, the company, which is backed by Australian and international institutions and private equity, reassessed its protocols to provide debt funding to productions despite the pandemic.
- 5/19/2021
- by Jackie Keast
- IF.com.au
A panel comprising Rachel Griffiths, producer Sue Maslin, Teresa Palmer, and Event Hospitality and Entertainment CEO Jane Hastings will judge next month’s inaugural Australian Women’s Film Festival.
The short film festival, which is being relaunched after the pandemic forced its postponement last year, will be held on Sunday, March 14 at Event Cinemas Bondi Junction in Sydney, in line with International Women’s Day.
Designed to support, encourage, and celebrate female storytellers and leaders within the film industry, Awff is the brainchild of Australian producers and filmmakers Kelly Tomasich and Tahyna MacManus (MuM – Misunderstanding of Miscarriage Documentary).
A condition of entry to Awff is that three out of five key creatives on a project must be female.
Entries are also subject to the Bechdel test – a measure of the representation of women in fiction that asks whether a work features at least two women who talk to each other...
The short film festival, which is being relaunched after the pandemic forced its postponement last year, will be held on Sunday, March 14 at Event Cinemas Bondi Junction in Sydney, in line with International Women’s Day.
Designed to support, encourage, and celebrate female storytellers and leaders within the film industry, Awff is the brainchild of Australian producers and filmmakers Kelly Tomasich and Tahyna MacManus (MuM – Misunderstanding of Miscarriage Documentary).
A condition of entry to Awff is that three out of five key creatives on a project must be female.
Entries are also subject to the Bechdel test – a measure of the representation of women in fiction that asks whether a work features at least two women who talk to each other...
- 2/15/2021
- by Sean Slatter
- IF.com.au
Production is underway in Adelaide, South Australia, on seasonal comedy film “A Sunburnt Christmas.” The film is set as an original production for local streaming platform Stan.
Directed by Christiaan Van Vuuren (“Bondi Hipsters,” “The Other Guy”), the film is the story of a single mother struggling to raise her children on their family farm. Their hardscrabble life is interrupted by the arrival of a runaway criminal who smashes his way into their property and their lives.
The cast is headed by Daniel Henshall (Snowtown, Bloom), Sullivan Stapleton (Animal Kingdom, Ride Like A Girl), and Ling Cooper Tang. Child actors include Lena Nankivell, Eaden McGuinness and Tatiana Goode.
“Sunburnt Christmas” is an Every Cloud Productions film, in association with Highview Productions, from an original concept by Gretel Vella, Eillot Vella and Tim Walker. Lisa Scott of Highview Productions is producer, with executive producers Fiona Eagger and Deb Cox for Every Cloud,...
Directed by Christiaan Van Vuuren (“Bondi Hipsters,” “The Other Guy”), the film is the story of a single mother struggling to raise her children on their family farm. Their hardscrabble life is interrupted by the arrival of a runaway criminal who smashes his way into their property and their lives.
The cast is headed by Daniel Henshall (Snowtown, Bloom), Sullivan Stapleton (Animal Kingdom, Ride Like A Girl), and Ling Cooper Tang. Child actors include Lena Nankivell, Eaden McGuinness and Tatiana Goode.
“Sunburnt Christmas” is an Every Cloud Productions film, in association with Highview Productions, from an original concept by Gretel Vella, Eillot Vella and Tim Walker. Lisa Scott of Highview Productions is producer, with executive producers Fiona Eagger and Deb Cox for Every Cloud,...
- 10/14/2020
- by Patrick Frater
- Variety Film + TV
Exclusive: Teresa Palmer has signed with ICM Partners for representation in all areas. The Australian actress is currently starring in the third and final season of critically acclaimed AMC series A Discovery of Witches opposite Matthew Goode.
Other notable credits include Terrence Malick’s feature Knight of Cups opposite Christian Bale and Cate Blanchett, Mel Gibson’s Hacksaw Ridge opposite Andrew Garfield, John Hillcoat’s Triple 9 opposite Chiwetel Ejiofor, Casey Affleck, Woody Harrelson and Anthony Mackie and Fabrice du Welz’s Message From The King opposite Chadwick Boseman.
Palmer’s brilliant performance in Cate Shortland’s 2017 independent feature Berlin Syndrome garnered her Aacta and Afca nominations for Best Actress in a Leading Role, and she was nominated again last year for her starring role in Ride Like A Girl, the story of the first female jockey to win the Melbourne Cup, Michelle Payne.
She is managed by Management 360 and Shanahan Management in Australia,...
Other notable credits include Terrence Malick’s feature Knight of Cups opposite Christian Bale and Cate Blanchett, Mel Gibson’s Hacksaw Ridge opposite Andrew Garfield, John Hillcoat’s Triple 9 opposite Chiwetel Ejiofor, Casey Affleck, Woody Harrelson and Anthony Mackie and Fabrice du Welz’s Message From The King opposite Chadwick Boseman.
Palmer’s brilliant performance in Cate Shortland’s 2017 independent feature Berlin Syndrome garnered her Aacta and Afca nominations for Best Actress in a Leading Role, and she was nominated again last year for her starring role in Ride Like A Girl, the story of the first female jockey to win the Melbourne Cup, Michelle Payne.
She is managed by Management 360 and Shanahan Management in Australia,...
- 10/8/2020
- by Justin Kroll
- Deadline Film + TV
‘Lion’. (Photo: Mark Rogers)
What’s your favourite Australian film of the last decade?
That’s one of the questions Aacta is putting to the general public over the coming week as voting opens for its new Audience Choice Awards.
In contention for the film award are: Peter Rabbit, Red Dog, The Sapphires, The Great Gatsby, The Water Diviner, The Dressmaker, Lion, Ride Like A Girl and Mad Max: Fury Road.
While many of those nominated correspond to the Academy’s own ‘Best Film’ winners over the past 10 years, there are some notable exclusions – 2016’s Hacksaw Ridge, 2018’s Sweet Country and 2019’s The Nightingale.
The Favourite TV Drama of The Decade category sees each broadcaster score two nods – bar Sbs, who were snubbed. They include 10’s Offspring and Neighbours, ABC’s Mystery Road and Miss Fisher’s Murder Mysteries, Foxtel’s Top of the Lake and Wentworth, Seven’s Molly and Home and Away,...
What’s your favourite Australian film of the last decade?
That’s one of the questions Aacta is putting to the general public over the coming week as voting opens for its new Audience Choice Awards.
In contention for the film award are: Peter Rabbit, Red Dog, The Sapphires, The Great Gatsby, The Water Diviner, The Dressmaker, Lion, Ride Like A Girl and Mad Max: Fury Road.
While many of those nominated correspond to the Academy’s own ‘Best Film’ winners over the past 10 years, there are some notable exclusions – 2016’s Hacksaw Ridge, 2018’s Sweet Country and 2019’s The Nightingale.
The Favourite TV Drama of The Decade category sees each broadcaster score two nods – bar Sbs, who were snubbed. They include 10’s Offspring and Neighbours, ABC’s Mystery Road and Miss Fisher’s Murder Mysteries, Foxtel’s Top of the Lake and Wentworth, Seven’s Molly and Home and Away,...
- 10/6/2020
- by jkeast
- IF.com.au
Frank Woodley.
Many producers fear the Federal Government’s sweeping media reforms will spell the death knell of Australian features, forcing them and some writers and directors to focus on content for streamers or free-to-air broadcasters.
Lowering the Producer Offset for films to 30 per cent from July 2021 will leave a gap of at least 25 per cent of the budgets which most producers will find impossible to fill, according to producer/distributor Sue Maslin.
“The exceptions will be largely foreign-financed films or local films with cast led by foreign actors making the most of Australian financial incentives, cast, crew and locations. That or extremely low budget films with little hope of competing in the cinema market,” the Film Art Media principal tells If.
“I find this summary dismissal of Australian cinema devastating and will be forced to relegate all feature films currently in development to the bottom drawer until we see...
Many producers fear the Federal Government’s sweeping media reforms will spell the death knell of Australian features, forcing them and some writers and directors to focus on content for streamers or free-to-air broadcasters.
Lowering the Producer Offset for films to 30 per cent from July 2021 will leave a gap of at least 25 per cent of the budgets which most producers will find impossible to fill, according to producer/distributor Sue Maslin.
“The exceptions will be largely foreign-financed films or local films with cast led by foreign actors making the most of Australian financial incentives, cast, crew and locations. That or extremely low budget films with little hope of competing in the cinema market,” the Film Art Media principal tells If.
“I find this summary dismissal of Australian cinema devastating and will be forced to relegate all feature films currently in development to the bottom drawer until we see...
- 10/2/2020
- by The IF Team
- IF.com.au
To mark the release of Ride Like a Girl on 10th August, we’ve been given 3 copies to give away on DVD.
Ride Like A Girl is the heart-warming, triumphant true story of Michelle Payne (Teresa Palmer) who, as a little girl, dreams of the impossible: winning the Melbourne Cup – horse racing’s toughest two-mile race. The youngest of 10 children, Michelle is raised by her stern, widowed father Paddy (Sam Neill) who is also a veteran horse trainer. Despite tremendous mental and physical hardships, and against all expert advice, Michelle pursues her dream with grit and tenacity and, with the love of her dad and brother Stevie, overcomes the impossible odds for a shot at her dream: a ride in ‘the race that stops the nation’, the Melbourne Cup. An inspirational sporting story of a young girl who defies all odds in a male-dominated sport, Ride Like A Girl is...
Ride Like A Girl is the heart-warming, triumphant true story of Michelle Payne (Teresa Palmer) who, as a little girl, dreams of the impossible: winning the Melbourne Cup – horse racing’s toughest two-mile race. The youngest of 10 children, Michelle is raised by her stern, widowed father Paddy (Sam Neill) who is also a veteran horse trainer. Despite tremendous mental and physical hardships, and against all expert advice, Michelle pursues her dream with grit and tenacity and, with the love of her dad and brother Stevie, overcomes the impossible odds for a shot at her dream: a ride in ‘the race that stops the nation’, the Melbourne Cup. An inspirational sporting story of a young girl who defies all odds in a male-dominated sport, Ride Like A Girl is...
- 8/12/2020
- by Competitions
- HeyUGuys.co.uk
August will be a quiet month on Prime Video UK leading up to the arrival of The Boys season 2 in the first week of September, but there are still a few things to look forward to before Billy Butcher and co. get back to ridding the world of megalomaniacal superheroes and their enablers.
Towards the end of August on Prime, Stargirl will be streaming for UK viewers. The DC Universe show has received strong reviews and will be back for a second season eventually. If you’re already a fan of DC’s Doom Patrol, it will make for a sweeter and more teen-friendly companion show.
Elsewhere, Keira Knightley’s Official Secrets is worth a watch, and there are some classic bangers being added to the Prime library too, including Gravity, The Wedding Singer, Valerian, Magic Mike Xxl and The Notebook – but it wouldn’t be Den of Geek if...
Towards the end of August on Prime, Stargirl will be streaming for UK viewers. The DC Universe show has received strong reviews and will be back for a second season eventually. If you’re already a fan of DC’s Doom Patrol, it will make for a sweeter and more teen-friendly companion show.
Elsewhere, Keira Knightley’s Official Secrets is worth a watch, and there are some classic bangers being added to the Prime library too, including Gravity, The Wedding Singer, Valerian, Magic Mike Xxl and The Notebook – but it wouldn’t be Den of Geek if...
- 7/30/2020
- by Kirsten Howard
- Den of Geek
Stan Original ‘I Am Woman.’ (Photo credit: Lisa Tomasetti).
Stan has warned the Federal Government that mandating minimum levels of spending on Australian content would undermine the streaming industry’s ability to generate the revenues needed to invest in high-quality Australian productions.
Similarly, Amazon Prime Video opposes regulation that would oblige it to screen a prescribed number of hours of Australian programming on its service, claiming that would reduce the non-Australian content selection or lead to the “inclusion of low quality or low viewership content.”
In their submissions to the government’s ‘Supporting Australian Stories on Our Screens’ options paper review posted online this week, both endorse Netflix’s call for a voluntary investment model.
“This model would also mitigate the risk of introducing a new regulatory regime that suffered from the same shortcomings that have led to this review, which became necessary largely because the current content quota system...
Stan has warned the Federal Government that mandating minimum levels of spending on Australian content would undermine the streaming industry’s ability to generate the revenues needed to invest in high-quality Australian productions.
Similarly, Amazon Prime Video opposes regulation that would oblige it to screen a prescribed number of hours of Australian programming on its service, claiming that would reduce the non-Australian content selection or lead to the “inclusion of low quality or low viewership content.”
In their submissions to the government’s ‘Supporting Australian Stories on Our Screens’ options paper review posted online this week, both endorse Netflix’s call for a voluntary investment model.
“This model would also mitigate the risk of introducing a new regulatory regime that suffered from the same shortcomings that have led to this review, which became necessary largely because the current content quota system...
- 7/14/2020
- by The IF Team
- IF.com.au
A new month means a new crop of streaming offerings on Prime Video UK, and July’s highlights include a second season of Amazon Original Hanna and the complete series of Mad Men to keep you busy. Newer library films include Knives Out starring Daniel Craig and his magnificently over the top accent, Countdown (that horror movie about the app that kills you in three days), Roland Emmerich’s Midway and coming of age comedy How to Build a Girl.
Elsewhere on Prime Video channels, Starzplay has a monopoly with The Great Season 1, Ramy Season 2 and the streaming rights to Doom Patrol Season 2, which will get underway mid-month. Don’t sleep on Doom Patrol – it’s worth the Starzplay subscription price alone, it’s that good!
You’ll also be able to buy Judd Apatow’s The King of Staten Island and Scoob! in July.
Here’s everything else we...
Elsewhere on Prime Video channels, Starzplay has a monopoly with The Great Season 1, Ramy Season 2 and the streaming rights to Doom Patrol Season 2, which will get underway mid-month. Don’t sleep on Doom Patrol – it’s worth the Starzplay subscription price alone, it’s that good!
You’ll also be able to buy Judd Apatow’s The King of Staten Island and Scoob! in July.
Here’s everything else we...
- 7/3/2020
- by Kirsten Howard
- Den of Geek
Ride Like a Girl tells the inspiration true story of Michelle Payne, the first woman to ever win the esteemed Melbourne Cup. Now usually we enjoy speaking to the actors who portray roles of this nature, but sometimes it’s nice to go straight to the person themselves, and so it was our pleasure to interview Payne about this biopic of her inspiration story.
Payne discusses winning the Melbourne Cup, and overcoming so many hurdles along the way. She also comments on Teresa Palmer’s portrayal of her, and what it’s like having Sam Neill play her father (and what he thinks of it too). She speaks also on her brother, who stars in the movie, and explains what it’s been like seeing her live events unravel before her eyes.
Watch the full interview below:
Synopsis
The inspirational story of Michelle Payne, the first female jockey to win...
Payne discusses winning the Melbourne Cup, and overcoming so many hurdles along the way. She also comments on Teresa Palmer’s portrayal of her, and what it’s like having Sam Neill play her father (and what he thinks of it too). She speaks also on her brother, who stars in the movie, and explains what it’s been like seeing her live events unravel before her eyes.
Watch the full interview below:
Synopsis
The inspirational story of Michelle Payne, the first female jockey to win...
- 6/30/2020
- by Stefan Pape
- HeyUGuys.co.uk
The streaming wars have really been heating up lately with the addition of new platforms like Disney Plus and HBO Max, but with over 180 million subscribers around the world, it appears as if Netflix‘s position at the top of the tree is more or less unassailable.
Of course, it helps that they seemingly have a ton of cash to sink into their original projects like Martin Scorsese’s The Irishman and Michael Bay’s 6 Underground alongside snapping up the streaming rights to tons of popular movies and TV shows. And while there’s a whole lot to look forward to in July, the last couple of days in June have been rather slow for fresh content – a trend that continues today.
In fact, there are only two new titles that arrived on the platform today, and first up is season 3 of Dark. The final run of one of Netflix’s best international shows,...
Of course, it helps that they seemingly have a ton of cash to sink into their original projects like Martin Scorsese’s The Irishman and Michael Bay’s 6 Underground alongside snapping up the streaming rights to tons of popular movies and TV shows. And while there’s a whole lot to look forward to in July, the last couple of days in June have been rather slow for fresh content – a trend that continues today.
In fact, there are only two new titles that arrived on the platform today, and first up is season 3 of Dark. The final run of one of Netflix’s best international shows,...
- 6/27/2020
- by Matt Joseph
- We Got This Covered
Rachel Griffiths’ film about the first woman to win the Melbourne Cup is an underdog story that clears every hurdle
The big-heartedness of this film won me over despite my utter ignorance of the racing world. It’s a bit hammy and TV-movie-ish, but you can’t help smiling at its feelgood directness and warmth. Directed by Rachel Griffiths, Ride Like a Girl is the true story of Michelle Payne, who in 2015 became the first female jockey to win Australia’s prestigious Melbourne Cup horse race. And she did it in the face of extraordinary odds.
Related: Rachel Griffiths on her muse Michelle Payne: 'She told the world to get stuffed'...
The big-heartedness of this film won me over despite my utter ignorance of the racing world. It’s a bit hammy and TV-movie-ish, but you can’t help smiling at its feelgood directness and warmth. Directed by Rachel Griffiths, Ride Like a Girl is the true story of Michelle Payne, who in 2015 became the first female jockey to win Australia’s prestigious Melbourne Cup horse race. And she did it in the face of extraordinary odds.
Related: Rachel Griffiths on her muse Michelle Payne: 'She told the world to get stuffed'...
- 6/25/2020
- by Peter Bradshaw
- The Guardian - Film News
A new week is approaching, and Netflix has got you covered with another glut of fresh content coming up over the next several days. There are numerous movies being added to the streaming giant’s library this week, as well as a bunch of Netflix Originals – including one of the most anticipated comedy movies of the year.
So, without further ado, check out the full list of films and TV shows coming to Netflix from Monday, June 22nd to Sunday, June 28th.
June 22nd
Dark Skies (2013) – Horror The Royal Hibiscus Hotel (2017) – Nigerian romcom
June 23rd
Eric Andre: Legalize Everything (2020) – Stand-up special Roswell: New Mexico (Season 2) – The CW sci-fi drama
June 24th
Athlete A (2020) – Documentary Bulbbul (2020) – Indian horror Crazy Delicious (Season 1) – Food docu-series. Lenox Hill (Special Episode) – Medical docu-series Nobody Knows I’m Here (2020) – Chilean drama
June 25th
Vivah (2006) – Indian musical
June 26th
All For Love (Season 1) – Spanish drama Eurovision Song Contest:...
So, without further ado, check out the full list of films and TV shows coming to Netflix from Monday, June 22nd to Sunday, June 28th.
June 22nd
Dark Skies (2013) – Horror The Royal Hibiscus Hotel (2017) – Nigerian romcom
June 23rd
Eric Andre: Legalize Everything (2020) – Stand-up special Roswell: New Mexico (Season 2) – The CW sci-fi drama
June 24th
Athlete A (2020) – Documentary Bulbbul (2020) – Indian horror Crazy Delicious (Season 1) – Food docu-series. Lenox Hill (Special Episode) – Medical docu-series Nobody Knows I’m Here (2020) – Chilean drama
June 25th
Vivah (2006) – Indian musical
June 26th
All For Love (Season 1) – Spanish drama Eurovision Song Contest:...
- 6/21/2020
- by Christian Bone
- We Got This Covered
‘Relic’.
Stan has swooped on Natalie Erika James’ feature debut Relic, with the film to premiere exclusively on the platform July 10.
The streaming service flagged today that the horror film forms part of series of brand new originals and theatrical releases it will announce over the coming weeks.
Relic marks the third local film to be strapped a Stan Original following Justin Kurzel’s True History of the Kelly Gang and Mairi Cameron’s The Second.
Relic, which bowed at the Sundance Film Festival earlier this year to strong reviews, tells the story of Edna (Robyn Nevin), an elderly and widowed matriarch who goes missing. Her daughter Kay (Emily Mortimer) and granddaughter Sam (Bella Heathcote) must travel to their remote family home in the Melbourne countryside to find her, and soon after her return, they start to discover a sinister presence haunting the house and taking control of Edna.
James...
Stan has swooped on Natalie Erika James’ feature debut Relic, with the film to premiere exclusively on the platform July 10.
The streaming service flagged today that the horror film forms part of series of brand new originals and theatrical releases it will announce over the coming weeks.
Relic marks the third local film to be strapped a Stan Original following Justin Kurzel’s True History of the Kelly Gang and Mairi Cameron’s The Second.
Relic, which bowed at the Sundance Film Festival earlier this year to strong reviews, tells the story of Edna (Robyn Nevin), an elderly and widowed matriarch who goes missing. Her daughter Kay (Emily Mortimer) and granddaughter Sam (Bella Heathcote) must travel to their remote family home in the Melbourne countryside to find her, and soon after her return, they start to discover a sinister presence haunting the house and taking control of Edna.
James...
- 6/18/2020
- by jkeast
- IF.com.au
Gary Sweet and Rachel Griffiths in ‘House Husbands.’
Gary Sweet will play a fictional version of himself in a six-part comedy which is being developed by Rachel Griffiths and writer/actor Maddie Dyer.
In Saving Gary Sweet, the former House Husbands star will play a troubled TV actor who has been married four times and ends up in hospital after a drug and alcohol binge.
Griffiths discussed the project today in conversation with Denise Eriksen in Running Free Skills, a webinar presented by Acmi, Film Victoria and Media Monitors.
She got the idea when she co-starred with Sweet in House Husbands after having a number of dreams in which she “saved” Ben Affleck.
The premise has Sweet as a TV actor whose career is derailed after a video of him bagging his co-star in a procedural cop show while doing cocaine with an underage girl goes viral.
Sweet loved the...
Gary Sweet will play a fictional version of himself in a six-part comedy which is being developed by Rachel Griffiths and writer/actor Maddie Dyer.
In Saving Gary Sweet, the former House Husbands star will play a troubled TV actor who has been married four times and ends up in hospital after a drug and alcohol binge.
Griffiths discussed the project today in conversation with Denise Eriksen in Running Free Skills, a webinar presented by Acmi, Film Victoria and Media Monitors.
She got the idea when she co-starred with Sweet in House Husbands after having a number of dreams in which she “saved” Ben Affleck.
The premise has Sweet as a TV actor whose career is derailed after a video of him bagging his co-star in a procedural cop show while doing cocaine with an underage girl goes viral.
Sweet loved the...
- 5/13/2020
- by The IF Team
- IF.com.au
While the 2020 Melbourne International Film Festival (Miff) may have been cancelled due to coronavirus concerns, organisers today announced a virtual edition that will feature new release titles from around the world.
Dubbed Miff 68½ (this would have been the festival’s 69th year), the ticketed showcase will run across the event’s original dates – August 6 to 23 – using a streaming platform from Shift 72.
Expected to screen around 40 features, Miff director Al Cossar said while Miff 68½ may not have the scale of the regular festival, it will still “certainly have all of the heart.”
“Miff is a Melbourne icon that offers an important point of togetherness for our city and creative communities each year,” Cossar said.
“Miff 68½ is our response to these difficult times – the result of our desire to sustain Miff’s outstanding film programming, stay connected with our audience, and foster new audience connections during this truly unparalleled time.”
The program...
Dubbed Miff 68½ (this would have been the festival’s 69th year), the ticketed showcase will run across the event’s original dates – August 6 to 23 – using a streaming platform from Shift 72.
Expected to screen around 40 features, Miff director Al Cossar said while Miff 68½ may not have the scale of the regular festival, it will still “certainly have all of the heart.”
“Miff is a Melbourne icon that offers an important point of togetherness for our city and creative communities each year,” Cossar said.
“Miff 68½ is our response to these difficult times – the result of our desire to sustain Miff’s outstanding film programming, stay connected with our audience, and foster new audience connections during this truly unparalleled time.”
The program...
- 5/7/2020
- by jkeast
- IF.com.au
‘Relic’. (Photo: Ben King)
Natalie Erika James’ debut feature Relic, which made its world premiere at the Sundance Film Festival in January, has been picked up by the UK’s Film Constellation for international sales.
Given the Covid-19 crisis, Film Constellation will shop the film, which stars Emily Mortimer, Robyn Nevin and Bella Heathcote, on a bespoke online platform – relicscreening.biz – available for select international distributors.
IFC Midnight is due to release Relic in North America in the last quarter of the year, while Umbrella Entertainment is handling the local release.
Produced by Anna McLeish and Sarah Shaw of the Melbourne-based Carver Films with Jake Gyllenhaal and Riva Marker of Nine Stories Productions, Relic follows Nevin as Edna, an elderly, widowed matriarch who goes missing. Her daughter Kay (Mortimer) and granddaughter Sam (Heathcote) travel to their remote family home to find her. Soon after her return, they start to discover...
Natalie Erika James’ debut feature Relic, which made its world premiere at the Sundance Film Festival in January, has been picked up by the UK’s Film Constellation for international sales.
Given the Covid-19 crisis, Film Constellation will shop the film, which stars Emily Mortimer, Robyn Nevin and Bella Heathcote, on a bespoke online platform – relicscreening.biz – available for select international distributors.
IFC Midnight is due to release Relic in North America in the last quarter of the year, while Umbrella Entertainment is handling the local release.
Produced by Anna McLeish and Sarah Shaw of the Melbourne-based Carver Films with Jake Gyllenhaal and Riva Marker of Nine Stories Productions, Relic follows Nevin as Edna, an elderly, widowed matriarch who goes missing. Her daughter Kay (Mortimer) and granddaughter Sam (Heathcote) travel to their remote family home to find her. Soon after her return, they start to discover...
- 3/31/2020
- by jkeast
- IF.com.au
Elise McCredie on the ‘Stateless’ set (Photo credit: Kirsty Stark).
Elise McCredie believes that as screenwriters typically work in isolation at home and many have projects in development, the cohort to which she belongs is best placed to ride out the Covid-19 crisis.
However that doesn’t ease the pain for the co-creator of Stateless, Jack Irish and Sunshine and co-writer of Ride Like a Girl.
“For me personally the lockdown is like having my arms, legs and heart wrenched in different directions and it hurts,” Elise tells If.
“Carving that precious space to write has become exponentially harder with the combination of home schooling kids, looking after fragile ageing parents and a compulsive obsession to check The Guardian’s news site every ten minutes. My life feels like Years and Years meets Catastrophe meets Contagion.
“I only finished the Stateless mix in mid-January and was looking forward to both...
Elise McCredie believes that as screenwriters typically work in isolation at home and many have projects in development, the cohort to which she belongs is best placed to ride out the Covid-19 crisis.
However that doesn’t ease the pain for the co-creator of Stateless, Jack Irish and Sunshine and co-writer of Ride Like a Girl.
“For me personally the lockdown is like having my arms, legs and heart wrenched in different directions and it hurts,” Elise tells If.
“Carving that precious space to write has become exponentially harder with the combination of home schooling kids, looking after fragile ageing parents and a compulsive obsession to check The Guardian’s news site every ten minutes. My life feels like Years and Years meets Catastrophe meets Contagion.
“I only finished the Stateless mix in mid-January and was looking forward to both...
- 3/29/2020
- by The IF Team
- IF.com.au
‘The Invisible Man’ (Photo credit: Universal Pictures).
Given that they appeal to very different audiences, the first-day ticket sales for The Invisible Man and Miss Fisher and the Crypt of Tears in Australia were very healthy.
Leigh Whannell’s Sydney-shot edge-of-the-seat thriller opened bigger yesterday, although the murder-mystery/adventure/romance staring Essie Davis and Nathan Page had already earned a hefty sum from paid prevews.
Produced by Blumhouse Productions’ Jason Blum and Goalpost Pictures’ Kylie du Fresne, The Invisible Man grossed $375,000 on 315 screens for Universal, tracking just below A Quiet Place’s first day.
Roadshow launched Every Cloud Productions’ movie directed by Tony Tilse on 376 screens, raking in $180,000 and $389,000 including advance screenings, outperforming the Universal release in some regional locations.
Both are set to generate very good business over the weekend, particularly as Miss Fisher’s more mature fans aren’t the type to rush out to see movies on day one.
Given that they appeal to very different audiences, the first-day ticket sales for The Invisible Man and Miss Fisher and the Crypt of Tears in Australia were very healthy.
Leigh Whannell’s Sydney-shot edge-of-the-seat thriller opened bigger yesterday, although the murder-mystery/adventure/romance staring Essie Davis and Nathan Page had already earned a hefty sum from paid prevews.
Produced by Blumhouse Productions’ Jason Blum and Goalpost Pictures’ Kylie du Fresne, The Invisible Man grossed $375,000 on 315 screens for Universal, tracking just below A Quiet Place’s first day.
Roadshow launched Every Cloud Productions’ movie directed by Tony Tilse on 376 screens, raking in $180,000 and $389,000 including advance screenings, outperforming the Universal release in some regional locations.
Both are set to generate very good business over the weekend, particularly as Miss Fisher’s more mature fans aren’t the type to rush out to see movies on day one.
- 2/27/2020
- by The IF Team
- IF.com.au
Erika Addis. (Photo: Erin Lee)
Erika Addis, head of cinematography at Griffith Film School and Australian Cinematographers Society (Acs) Queensland president and national vice-president, chairs Acs’ Women’s Advisory Panel. She reflects on why cinematography remains male-dominated.
I’m frequently asked ‘Why are there so few women cinematographers?’ I do speculate on the reasons, but the answer is not simple.
Cinematographers need a combination of creativity, technical ability, spatial skills, people skills and stamina – both mental and physical. None of these capacities should be a bar to women entering the camera department on the basis of gender alone. That said, the chronically low rates of women employed as director of photography or camera operator are astonishing.
When I started out in film in 1974, women were excluded from all kinds of workplaces. I didn’t see any other women around in technical roles and it was unusual to be a female in the camera department.
Erika Addis, head of cinematography at Griffith Film School and Australian Cinematographers Society (Acs) Queensland president and national vice-president, chairs Acs’ Women’s Advisory Panel. She reflects on why cinematography remains male-dominated.
I’m frequently asked ‘Why are there so few women cinematographers?’ I do speculate on the reasons, but the answer is not simple.
Cinematographers need a combination of creativity, technical ability, spatial skills, people skills and stamina – both mental and physical. None of these capacities should be a bar to women entering the camera department on the basis of gender alone. That said, the chronically low rates of women employed as director of photography or camera operator are astonishing.
When I started out in film in 1974, women were excluded from all kinds of workplaces. I didn’t see any other women around in technical roles and it was unusual to be a female in the camera department.
- 2/25/2020
- by jkeast
- IF.com.au
"There's a reason the call it the most dangerous sport on Earth." Saban Films has debuted one more official trailer for the inspiring true story Ride Like a Girl. We already posted two Australian trailers for this film last year, for its Australian release in the fall. This finally will open in this Us this March. The film tells the true story of Michelle Payne, the first female jockey to win the Melbourne Cup - horse-racing's toughest two-mile race - in 2015. Teresa Palmer stars as Michelle, also joined by Sam Neill, Sullivan Stapleton, Stevie Payne (as himself), Genevieve Morris, Sophia Forrest, Henry Nixon, Aaron Glenane, and Zara Zoe. This definitely does seem like it's worth catching up with when it releases in the Us next month. Here's the (third) official Us trailer (+ poster) for Rachel Griffiths' Ride Like a Girl, direct from YouTube: You can still watch the first...
- 2/24/2020
- by Alex Billington
- firstshowing.net
Screen Australia, the country’s federal support body, says the screen entertainment industry needs to come up with new business models in response to changes in audience behavior and the disruptive impact on content financing that has come from streaming. Public support bodies must change their relationships with the industry too, Screen Australia CEO Graeme Mason says.
Illustrating that point, Australia has eight properties in prominent positions at the Berlin Film Festival. But from an industry recently evaluated to have an economic impact of $15 billion (A$22 billion), only two are feature films: “H is For Happiness,” which opened the Generation K Plus section, and “High Ground.”
Higher-profile slots go to premium TV series “Stateless,” which was conceived by and stars Cate Blanchett, and the second season of Outback crime series “Mystery Road.” Both play in the Berlinale Series section. Additionally, four Aussie shorts play elsewhere across the Berlinale.
Australia’s...
Illustrating that point, Australia has eight properties in prominent positions at the Berlin Film Festival. But from an industry recently evaluated to have an economic impact of $15 billion (A$22 billion), only two are feature films: “H is For Happiness,” which opened the Generation K Plus section, and “High Ground.”
Higher-profile slots go to premium TV series “Stateless,” which was conceived by and stars Cate Blanchett, and the second season of Outback crime series “Mystery Road.” Both play in the Berlinale Series section. Additionally, four Aussie shorts play elsewhere across the Berlinale.
Australia’s...
- 2/23/2020
- by Patrick Frater
- Variety Film + TV
Tilda Cobham-Hervey and Unjoo Moon at the Tiff premiere of ‘I Am Woman.’
In a sign of the times for independent distributors, Transmission Films expects to release approximately nine films in cinemas this year, down from 13 in 2019.
The more selective, cautious approach to acquisitions is Transmission’s response to the tightening market across-the-board for indie films, which co-founder Andrew Mackie estimates has dropped by 10-20 per cent.
That said, Mackie and co-founder Richard Payten are very confident about the 2020 slate, not least Unjoo Moon’s I Am Woman and Dean Murphy’s Paul Hogan comeback comedy The Very Excellent Mr Dundee.
Transmission has dated Moon’s Helen Reddy biopic starring Tilda Cobham-Hervey as the pioneering Australian feminist singer, which premiered at Toronto, on May 21.
Mackie says the release date for the film produced by Goalpost Pictures’ Rosemary Blight and scripted by Emma Jensen avoids the “post-Oscar season crush and allows...
In a sign of the times for independent distributors, Transmission Films expects to release approximately nine films in cinemas this year, down from 13 in 2019.
The more selective, cautious approach to acquisitions is Transmission’s response to the tightening market across-the-board for indie films, which co-founder Andrew Mackie estimates has dropped by 10-20 per cent.
That said, Mackie and co-founder Richard Payten are very confident about the 2020 slate, not least Unjoo Moon’s I Am Woman and Dean Murphy’s Paul Hogan comeback comedy The Very Excellent Mr Dundee.
Transmission has dated Moon’s Helen Reddy biopic starring Tilda Cobham-Hervey as the pioneering Australian feminist singer, which premiered at Toronto, on May 21.
Mackie says the release date for the film produced by Goalpost Pictures’ Rosemary Blight and scripted by Emma Jensen avoids the “post-Oscar season crush and allows...
- 2/2/2020
- by The IF Team
- IF.com.au
Exclusive: A potential TV spin-off of British director Jonathan Glazer’s cult sci-fi feature Under The Skin has sparked a bidding war between the film’s original financier Silver Reel and studio A24.
Based on a novel by Michel Faber, Under The Skin was director Glazer’s first film in a decade when it landed in 2013, winning awards and critical acclaim for its story about an alien, played by Scarlett Johansson, who preys on men in Scotland. Now, seven years after its first release, a protracted discussion about a television series, and the demise of the company that produced the movie, has culminated in Silver Reel and A24 going toe-to-toe for the TV rights.
Under The Skin was made by Seventh Kingdom Productions, which counts Glazer and producer James Wilson among its directors. Silver Reel was involved in appointing administrators last year to carve up its assets — the equivalent of...
Based on a novel by Michel Faber, Under The Skin was director Glazer’s first film in a decade when it landed in 2013, winning awards and critical acclaim for its story about an alien, played by Scarlett Johansson, who preys on men in Scotland. Now, seven years after its first release, a protracted discussion about a television series, and the demise of the company that produced the movie, has culminated in Silver Reel and A24 going toe-to-toe for the TV rights.
Under The Skin was made by Seventh Kingdom Productions, which counts Glazer and producer James Wilson among its directors. Silver Reel was involved in appointing administrators last year to carve up its assets — the equivalent of...
- 1/28/2020
- by Jake Kanter
- Deadline Film + TV
‘Relic’.
Natalie Erika James’ debut feature Relic has received rapturous reviews after the world premiere in the Midnight section of the Sundance Film Festival.
Critics praised the Us-born, Japanese-Australian filmmaker’s wholly original approach to the haunted house genre, the emotional impact and the performances of the three leads – Emily Mortimer, Robyn Nevin and Bella Heathcote.
Co-written by James and Christian White, the plot follows Nevin as Edna, the elderly and widowed matriarch of the family who goes missing. Her daughter Kay (Mortimer) and granddaughter Sam (Heathcote) travel to their remote family home to find her. Soon after her return, they discover a sinister presence is haunting the house and taking control of Edna.
Bloody Disgusting’s Meagan Navarro declared: “What begins as a more straightforward yet psychological approach to haunted house fare explodes into full-blown horror in a wholly unexpected way, and Relic marks one audacious debut.
Observing that...
Natalie Erika James’ debut feature Relic has received rapturous reviews after the world premiere in the Midnight section of the Sundance Film Festival.
Critics praised the Us-born, Japanese-Australian filmmaker’s wholly original approach to the haunted house genre, the emotional impact and the performances of the three leads – Emily Mortimer, Robyn Nevin and Bella Heathcote.
Co-written by James and Christian White, the plot follows Nevin as Edna, the elderly and widowed matriarch of the family who goes missing. Her daughter Kay (Mortimer) and granddaughter Sam (Heathcote) travel to their remote family home to find her. Soon after her return, they discover a sinister presence is haunting the house and taking control of Edna.
Bloody Disgusting’s Meagan Navarro declared: “What begins as a more straightforward yet psychological approach to haunted house fare explodes into full-blown horror in a wholly unexpected way, and Relic marks one audacious debut.
Observing that...
- 1/27/2020
- by The IF Team
- IF.com.au
Cinema box office in Australia dipped by 2% in 2019 to an annual total of A$1.23 billion, or $841 million, according to data from the Motion Picture Distributors Association of Australia. That was the country’s third highest figure in local currency terms, but it also shows the theatrical industry to be rangebound since 2015.
Australian-made films took over A$40m ($27.4 million) in 2019, down from A$57 million ($£9.0 million) in 2018. The Mpdaa took comfort in confirming that three of the ten top grossing local films were directed by women. The highest was “Ride Like a Girl,” directed by Rachel Griffiths, which has taken A$11.7 million ($8.01 million) to date.
Disney’s “Avengers: Endgame” was the highest grossing film in 2019, breaking box office records for opening day and for the opening weekend. The film’s opening day was also the highest single-day box office on record in Australia.
“Although there are still many challenges posed by increasing alternative entertainment options,...
Australian-made films took over A$40m ($27.4 million) in 2019, down from A$57 million ($£9.0 million) in 2018. The Mpdaa took comfort in confirming that three of the ten top grossing local films were directed by women. The highest was “Ride Like a Girl,” directed by Rachel Griffiths, which has taken A$11.7 million ($8.01 million) to date.
Disney’s “Avengers: Endgame” was the highest grossing film in 2019, breaking box office records for opening day and for the opening weekend. The film’s opening day was also the highest single-day box office on record in Australia.
“Although there are still many challenges posed by increasing alternative entertainment options,...
- 1/22/2020
- by Patrick Frater
- Variety Film + TV
‘Ride Like a Girl.’
Given the relentless competition from Netflix and other streaming services, Australian exhibitors and distributors can take heart from the 2019 box office total, which was the third highest ever.
The nationwide B.O. of $1.228 billion was down fractionally on 2018’s $1.245 billion and not far short of the 2016 industry record of $1.259 billion, according to the Motion Picture Distributors Association of Australia (Mpdaa).
As If reported, 59 Australian films and feature docs released in cinemas last year plus a few holdovers generated $40.2 million, compared with 2018’s $57.4 million.
The year’s Australian top-grosser was Rachel Griffiths’ Ride Like a Girl, which has raked in $11.7 million, one of nine titles which each grossed more than $1 million.
Will Gluck’s Peter Rabbit was the No. 1 local title in 2018 with $26.7 million, which alone would account for the year-on-year decline. Sony Pictures is due to launch Peter Rabbit 2: The Runaway in March, so that...
Given the relentless competition from Netflix and other streaming services, Australian exhibitors and distributors can take heart from the 2019 box office total, which was the third highest ever.
The nationwide B.O. of $1.228 billion was down fractionally on 2018’s $1.245 billion and not far short of the 2016 industry record of $1.259 billion, according to the Motion Picture Distributors Association of Australia (Mpdaa).
As If reported, 59 Australian films and feature docs released in cinemas last year plus a few holdovers generated $40.2 million, compared with 2018’s $57.4 million.
The year’s Australian top-grosser was Rachel Griffiths’ Ride Like a Girl, which has raked in $11.7 million, one of nine titles which each grossed more than $1 million.
Will Gluck’s Peter Rabbit was the No. 1 local title in 2018 with $26.7 million, which alone would account for the year-on-year decline. Sony Pictures is due to launch Peter Rabbit 2: The Runaway in March, so that...
- 1/20/2020
- 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
If.com.au is on holiday hiatus, resuming January 6, 2020.
For all our e-newsletter subscribers, throughout the break we’ll send newsletters with what we thought were our best and most pertinent stories of 2019.
It’s been our pleasure to report this year on a busy sector, and we look forward to seeing how key issues play out in the year to come.
Notably, after years of policy stasis, the screen industry has promise of change in 2020.
The Federal Government has committed to a staged process of media regulation reform, and in its sights is whether local content requirements should be imposed on Svod services like Netflix, Amazon and Stan.
As part of this, Screen Australia and Acma will release an options paper in early 2020 that will look at how to best support Australian stories in a modern, multi-platform environment.
The government announcement comes on the heels of Disney+ and AppleTV+ launching in the Australian market.
For all our e-newsletter subscribers, throughout the break we’ll send newsletters with what we thought were our best and most pertinent stories of 2019.
It’s been our pleasure to report this year on a busy sector, and we look forward to seeing how key issues play out in the year to come.
Notably, after years of policy stasis, the screen industry has promise of change in 2020.
The Federal Government has committed to a staged process of media regulation reform, and in its sights is whether local content requirements should be imposed on Svod services like Netflix, Amazon and Stan.
As part of this, Screen Australia and Acma will release an options paper in early 2020 that will look at how to best support Australian stories in a modern, multi-platform environment.
The government announcement comes on the heels of Disney+ and AppleTV+ launching in the Australian market.
- 12/19/2019
- by jkeast
- IF.com.au
Plus Jennifer Kent’s elegant and brutal colonial drama, Lupita Nyong’o battling zombies, and the best biopic since Chopper
Do impressive box office results indicate a film is worth seeing? Should good business be considered as important as rave reviews?
The dichotomy between great art and popular art is almost as old as art itself. This year in Australian cinema there was a profound disconnect between the best locally produced films and the ones audiences most wanted to see. Titles such as Ride Like a Girl, Palm Beach and Storm Boy, for instance, did commendable business at the box office, but all were artistically wanting, to say the least.
In this context, as always, the role of the critic is surely to separate the wheat from the chaff. To qualify for this list, films must have had either some kind of theatrical release this year outside the festival circuit or a direct-to-television/streaming release.
Do impressive box office results indicate a film is worth seeing? Should good business be considered as important as rave reviews?
The dichotomy between great art and popular art is almost as old as art itself. This year in Australian cinema there was a profound disconnect between the best locally produced films and the ones audiences most wanted to see. Titles such as Ride Like a Girl, Palm Beach and Storm Boy, for instance, did commendable business at the box office, but all were artistically wanting, to say the least.
In this context, as always, the role of the critic is surely to separate the wheat from the chaff. To qualify for this list, films must have had either some kind of theatrical release this year outside the festival circuit or a direct-to-television/streaming release.
- 12/16/2019
- by Luke Buckmaster
- The Guardian - Film News
Rachel Griffiths. (Photo: Lisa Tomasetti)
Actor, director and producer Rachel Griffiths has joined Bus Stop Films as the organisation’s patron.
Griffiths’ appointment comes as Bus Stop Films, which promotes inclusive filmmaking and accessible film studies and employment for people with disability in screen, celebrates 10 years.
Bus Stop Films was established by co-founder Genevieve Clay-Smith after winning Tropfest with her inclusively made film Be My Brother in 2009. Today, Bus Stop Films has produced more than 25 inclusive films, and has won a a number of accolades, including a Human Rights Award. The organisation’s film studies program offers a professional level film education for older teens and adults living with intellectual disability, across four locations, including Aftrs, Fox Studios, Information Cultural Exchange (I.C.E) in Parramatta and, in 2020, the program will be hosted by Screen Canberra and the University of Wollongong, alongside its international program in Mongolia.
As director of Ride Like A Girl,...
Actor, director and producer Rachel Griffiths has joined Bus Stop Films as the organisation’s patron.
Griffiths’ appointment comes as Bus Stop Films, which promotes inclusive filmmaking and accessible film studies and employment for people with disability in screen, celebrates 10 years.
Bus Stop Films was established by co-founder Genevieve Clay-Smith after winning Tropfest with her inclusively made film Be My Brother in 2009. Today, Bus Stop Films has produced more than 25 inclusive films, and has won a a number of accolades, including a Human Rights Award. The organisation’s film studies program offers a professional level film education for older teens and adults living with intellectual disability, across four locations, including Aftrs, Fox Studios, Information Cultural Exchange (I.C.E) in Parramatta and, in 2020, the program will be hosted by Screen Canberra and the University of Wollongong, alongside its international program in Mongolia.
As director of Ride Like A Girl,...
- 12/11/2019
- by jkeast
- IF.com.au
by Travis Cragg
Magnolia Maymuru from The Nightingale wins Best Supporting Actress
The Australian Academy of Cinema and Television Arts (Aacta) gave out their awards at two functions this week: one was an industry luncheon where they did the technical and supporting awards, the other was a glitzy evening televised on delay with many of the gongs awarded in the ad breaks. The two biggest Australian box office hits of the year, Top End Wedding and Ride Like A Girl, went home empty-handed, but the wealth was spread out amongst the other (limited bunch of) nominees with The Nightingale leading the pack...
Magnolia Maymuru from The Nightingale wins Best Supporting Actress
The Australian Academy of Cinema and Television Arts (Aacta) gave out their awards at two functions this week: one was an industry luncheon where they did the technical and supporting awards, the other was a glitzy evening televised on delay with many of the gongs awarded in the ad breaks. The two biggest Australian box office hits of the year, Top End Wedding and Ride Like A Girl, went home empty-handed, but the wealth was spread out amongst the other (limited bunch of) nominees with The Nightingale leading the pack...
- 12/6/2019
- by Travis C
- FilmExperience
Confrontational revenge drama “The Nightingale” was the big winner in the feature film category of the Australian Academy of Cinema and Television Arts Awards. “Lambs of God” was dominant in the TV section.
“The Nightingale” was named as best film. Jennifer Kent additionally won the best director and best screenplay awards. Giving her a night to remember, Kent was also named as one of the producers of “The Nightingale.” Aisling Franciosi was named best actress, giving the film six prizes.
The win meant snubs for “Hotel Mumbai and “Ride Like a Girl,” two of the highest grossing Australian films of the past year. “Mumbai” came away with a single Aacta prize, “Ride Like a Girl” none. Other defeated titles in the best film category were “Judy & Punch,” “Top End Wedding,” and “The King.” David Michod’s “The King” won Aacta awards for cinematography, costume design and production design.
Damon Herriman continued his winning streak,...
“The Nightingale” was named as best film. Jennifer Kent additionally won the best director and best screenplay awards. Giving her a night to remember, Kent was also named as one of the producers of “The Nightingale.” Aisling Franciosi was named best actress, giving the film six prizes.
The win meant snubs for “Hotel Mumbai and “Ride Like a Girl,” two of the highest grossing Australian films of the past year. “Mumbai” came away with a single Aacta prize, “Ride Like a Girl” none. Other defeated titles in the best film category were “Judy & Punch,” “Top End Wedding,” and “The King.” David Michod’s “The King” won Aacta awards for cinematography, costume design and production design.
Damon Herriman continued his winning streak,...
- 12/5/2019
- by Patrick Frater
- Variety Film + TV
‘The Nightingale’.
Last night’s Aacta Awards saw a trifecta for Jennifer Kent, who took home Best Film, Best Direction and Best Screenplay for The Nightingale, with star Aisling Franciosi also winning Best Lead Actress.
Set in 1825, The Nightingale follows a young, female Irish convict (Franciosi) who chases a British officer through the Tasmanian wilderness bent on revenge after he committed an act of violence against her family, and who along the way enlists the help of an Aboriginal tracker. It premiered at the Venice Film Festival in 2018, with Kent the only female director in competition. It won the Special Jury Prize and Baykali Ganambarr the Marcello Mastroiaani Award for his debut performance.
Produced by Causeway Films’ Kristina Ceyton, Made Up Stories’ Bruna Papandrea and Steve Hutensky, and Kent, the period tale beat out The King, Judy & Punch, Hearts and Bones, Ride Like A Girl and Top End Wedding for the Best Film prize.
Last night’s Aacta Awards saw a trifecta for Jennifer Kent, who took home Best Film, Best Direction and Best Screenplay for The Nightingale, with star Aisling Franciosi also winning Best Lead Actress.
Set in 1825, The Nightingale follows a young, female Irish convict (Franciosi) who chases a British officer through the Tasmanian wilderness bent on revenge after he committed an act of violence against her family, and who along the way enlists the help of an Aboriginal tracker. It premiered at the Venice Film Festival in 2018, with Kent the only female director in competition. It won the Special Jury Prize and Baykali Ganambarr the Marcello Mastroiaani Award for his debut performance.
Produced by Causeway Films’ Kristina Ceyton, Made Up Stories’ Bruna Papandrea and Steve Hutensky, and Kent, the period tale beat out The King, Judy & Punch, Hearts and Bones, Ride Like A Girl and Top End Wedding for the Best Film prize.
- 12/5/2019
- by jkeast
- IF.com.au
‘Relic’. (Photo: Ben King)
Natalie Erika James’ debut feature, psychological horror movie Relic will have its world premiere in the Midnight section of the Sundance Film Festival.
Co-written by James and Christian White, the film stars Emily Mortimer, Robyn Nevin and Bella Heathcote in the tale of three generations of women – daughter, mother and grandmother – who are haunted by a manifestation of aged dementia that takes over their family home.
Carver Films’ Anna McLeish and Sarah Shaw produced with Nine Stories’ Jake Gyllenhaal and Riva Marker. Anthony and Joe Russo (directors of Marvel’s Captain America and Avengers franchise), Todd Makurath and Mike Larocca executive produced and co-financed via their upstart studio Agbo, which handles international sales.
It was the second film developed through Screen Australia’s Gender Matters program to go into production, following Ride Like a Girl.
Umbrella will distribute the film funded by Screen Australia and Film Victoria.
Natalie Erika James’ debut feature, psychological horror movie Relic will have its world premiere in the Midnight section of the Sundance Film Festival.
Co-written by James and Christian White, the film stars Emily Mortimer, Robyn Nevin and Bella Heathcote in the tale of three generations of women – daughter, mother and grandmother – who are haunted by a manifestation of aged dementia that takes over their family home.
Carver Films’ Anna McLeish and Sarah Shaw produced with Nine Stories’ Jake Gyllenhaal and Riva Marker. Anthony and Joe Russo (directors of Marvel’s Captain America and Avengers franchise), Todd Makurath and Mike Larocca executive produced and co-financed via their upstart studio Agbo, which handles international sales.
It was the second film developed through Screen Australia’s Gender Matters program to go into production, following Ride Like a Girl.
Umbrella will distribute the film funded by Screen Australia and Film Victoria.
- 12/4/2019
- by The IF Team
- IF.com.au
Natalie Miller.
The Australian films and feature documentaries released in cinemas this year including holdovers collectively have grossed $39.7 million.
So while the calendar year total will fall short of 2018’s $57.4 million, it should be noted Peter Rabbit was the top local title last year, grossing $26.7 million, which alone could explain the year-on-year decline. Sony Pictures is due to launch Peter Rabbit 2 next March, so that is virtually certain to be a big contributor to the 2020 revenues.
As Cinema Nova has supported almost every Australian release, If asked co-executive director Natalie Miller to assess the overall commercial and critical appeal of this year’s Oz slate.
“It’s not bad but it’s not great,” says the veteran exhibitor/distributor, who gives high marks to Ride Like a Girl, Top End Wedding, Storm Boy, Palm Beach and the feature docs 2040, Mystify: Michael Hutchence and The Australian Dream.
Among the...
The Australian films and feature documentaries released in cinemas this year including holdovers collectively have grossed $39.7 million.
So while the calendar year total will fall short of 2018’s $57.4 million, it should be noted Peter Rabbit was the top local title last year, grossing $26.7 million, which alone could explain the year-on-year decline. Sony Pictures is due to launch Peter Rabbit 2 next March, so that is virtually certain to be a big contributor to the 2020 revenues.
As Cinema Nova has supported almost every Australian release, If asked co-executive director Natalie Miller to assess the overall commercial and critical appeal of this year’s Oz slate.
“It’s not bad but it’s not great,” says the veteran exhibitor/distributor, who gives high marks to Ride Like a Girl, Top End Wedding, Storm Boy, Palm Beach and the feature docs 2040, Mystify: Michael Hutchence and The Australian Dream.
Among the...
- 12/4/2019
- by The IF Team
- IF.com.au
‘Top End Wedding.’
Americans will have the chance to see Wayne Blair’s Top End Wedding early next year, but only on VOD and other digital platforms.
Samuel Goldwyn Films has acquired the Us rights to the romantic comedy which raked in $5.26 million in Australian cinemas, the year’s second highest grosser behind Ride Like a Girl’s $11.5 million.
The specialty distributor plans a multi-platform release on February 21, its third recent Oz acquisition following Mirrah Foulkes’ Judy & Punch and Koko: A Red Dog Story, the third edition of the franchise written and directed by Aaron McCann and Dominic Pearce, which opens here on 80 screens tomorrow.
“Top End Wedding is a delightfully fun romantic comedy that also showcases the breathtaking beauty of Australia,” says Meg Longo of Samuel Goldwyn Films.
Goalpost Pictures’ Rosemary Blight, who produced with Kylie du Fresne and Kate Croser, added: “The team at Samuel Goldwyn are passionate...
Americans will have the chance to see Wayne Blair’s Top End Wedding early next year, but only on VOD and other digital platforms.
Samuel Goldwyn Films has acquired the Us rights to the romantic comedy which raked in $5.26 million in Australian cinemas, the year’s second highest grosser behind Ride Like a Girl’s $11.5 million.
The specialty distributor plans a multi-platform release on February 21, its third recent Oz acquisition following Mirrah Foulkes’ Judy & Punch and Koko: A Red Dog Story, the third edition of the franchise written and directed by Aaron McCann and Dominic Pearce, which opens here on 80 screens tomorrow.
“Top End Wedding is a delightfully fun romantic comedy that also showcases the breathtaking beauty of Australia,” says Meg Longo of Samuel Goldwyn Films.
Goalpost Pictures’ Rosemary Blight, who produced with Kylie du Fresne and Kate Croser, added: “The team at Samuel Goldwyn are passionate...
- 12/3/2019
- by The IF Team
- IF.com.au
"The only thing that matters... is the odds you give yourself." Even though this film already opened a few months back in Australia, we're only just catching up with this second trailer from Transmission Films for Ride Like a Girl. The film marks the feature directorial debut of actress Rachel Griffiths, telling the true story of Michelle Payne, the first female jockey to win the Melbourne Cup - horse-racing's toughest two-mile race - in 2015. Teresa Palmer stars as Michelle, with a cast including Sam Neill, Sullivan Stapleton, Stevie Payne (as himself), Genevieve Morris, Sophia Forrest, Henry Nixon, Aaron Glenane, and Zara Zoe. This does look like an inspiring, exciting film, plus it's always wonderful to watch Sam & Teresa. Here's the second Australian trailer (+ another poster) for Rachel Griffiths' Ride Like a Girl, on YouTube: You can still watch the first official trailer for Griffiths' Ride Like a Girl right here,...
- 12/2/2019
- by Alex Billington
- firstshowing.net
‘Knives Out.’
Disney’s Frozen 2 dominated the cinema business last weekend without matching its stellar Us results while Studiocanal’s crime caper Knives Out proved to be effective counter-programming.
Meanwhile Rialto launched Adrian Noble’s Mrs Lowry & Son on 43 screens, ringing up $48,000 and a decent $184,000 including revenues from festivals. The English comedy stars Timothy Spall as the artist L.S. Lowry and Vanessa Redgrave as his overbearing mother.
Selina Miles’ feature documentary Martha: A Picture Story, an alternate content release which profiles intrepid American photojournalist Martha Cooper, clocked $15,000 from limited sessions plus $29,000 from festivals for Umbrella Entertainment.
The winner of the Sydney Film Festival Documentary Audience Award, the film follows Cooper as she roams around Berlin, New York and Baltimore and her adventures come to life with archival footage and tales from subjects and peers.
The Aacta Awards to be announced on Wednesday are unlikely to give any box office momentum to the victors,...
Disney’s Frozen 2 dominated the cinema business last weekend without matching its stellar Us results while Studiocanal’s crime caper Knives Out proved to be effective counter-programming.
Meanwhile Rialto launched Adrian Noble’s Mrs Lowry & Son on 43 screens, ringing up $48,000 and a decent $184,000 including revenues from festivals. The English comedy stars Timothy Spall as the artist L.S. Lowry and Vanessa Redgrave as his overbearing mother.
Selina Miles’ feature documentary Martha: A Picture Story, an alternate content release which profiles intrepid American photojournalist Martha Cooper, clocked $15,000 from limited sessions plus $29,000 from festivals for Umbrella Entertainment.
The winner of the Sydney Film Festival Documentary Audience Award, the film follows Cooper as she roams around Berlin, New York and Baltimore and her adventures come to life with archival footage and tales from subjects and peers.
The Aacta Awards to be announced on Wednesday are unlikely to give any box office momentum to the victors,...
- 12/1/2019
- by The IF Team
- IF.com.au
The first trailer for the Aussie drama, “Ride Like A Girl,” starring Teresa Palmer is now out, and it teases a tear-jerker and heart-warming underdog story, but unfortunately, no one says the title of the movie.
Read More: Rachel Weisz To Portray Elizabeth Taylor In New Biopic Focused On Hollywood Legend’s AIDS Activism
You know what I’m talking about. There’s always a moment of weird meta thrill where a character in a movie looks just barely off-camera and says the title of the film you’re currently watching.
Continue reading Trailer For Teresa Palmer Drama ‘Ride Like A Girl’ Doesn’t Have Character Saying Film’s Title at The Playlist.
Read More: Rachel Weisz To Portray Elizabeth Taylor In New Biopic Focused On Hollywood Legend’s AIDS Activism
You know what I’m talking about. There’s always a moment of weird meta thrill where a character in a movie looks just barely off-camera and says the title of the film you’re currently watching.
Continue reading Trailer For Teresa Palmer Drama ‘Ride Like A Girl’ Doesn’t Have Character Saying Film’s Title at The Playlist.
- 11/29/2019
- by Rafael Motamayor
- The Playlist
Murray Forrest.
Murray Forrest has received the Society of Australian Cinema Pioneers’ inaugural Humanitarian Award, recognising his long commitment to the Motion Picture Industry Benevolent Society (Mpibs).
The former head of film processing labs Atlab and Colorfilm, Forrest has served as chairman of the Mpibs, which financially supports industry people who have fallen on hard times, for 24 years.
Announcing the accolade at the society’s annual dinner on Thursday night, Pioneers national president Russell Anderson said the award recognizes outstanding and exceptional service to the cinema industry, in particular charity work, mentoring and community service.
Accepting the award, Forrest recalled meeting Sir Norman Rydge, chairman of Colorfilm’s parent the Greater Union Organisation, 55 years ago, a few months after he had joined the company.
Sir Norman informed the 22-year-old Forrest about the Cinema Pioneers and the Mpibs, where he became a councilor several years before being appointed chairman.
Sir Norman’s son Alan Rydge,...
Murray Forrest has received the Society of Australian Cinema Pioneers’ inaugural Humanitarian Award, recognising his long commitment to the Motion Picture Industry Benevolent Society (Mpibs).
The former head of film processing labs Atlab and Colorfilm, Forrest has served as chairman of the Mpibs, which financially supports industry people who have fallen on hard times, for 24 years.
Announcing the accolade at the society’s annual dinner on Thursday night, Pioneers national president Russell Anderson said the award recognizes outstanding and exceptional service to the cinema industry, in particular charity work, mentoring and community service.
Accepting the award, Forrest recalled meeting Sir Norman Rydge, chairman of Colorfilm’s parent the Greater Union Organisation, 55 years ago, a few months after he had joined the company.
Sir Norman informed the 22-year-old Forrest about the Cinema Pioneers and the Mpibs, where he became a councilor several years before being appointed chairman.
Sir Norman’s son Alan Rydge,...
- 11/28/2019
- by The IF Team
- IF.com.au
Maddie Dyer and Rachel Griffiths.
After bonding on Ride Like a Girl, Rachel Griffiths and emerging writer-director Madeleine Dyer are jointly developing a TV comedy series based on a prominent Australian actor.
Describing Rachel’s concept as a new age, male version of Eliza Dolittle, Dyer says the plot will follow the actor as he learns to be ‘woke’ in how he relates to women and conducts himself in the current social climate.
They envisage an Extras-style series where actors and celebrities will play versions of themselves and are still in discussions with the actor about his participation.
Dyer spent five months with Griffiths on a Screen Australia-funded director’s attachment and director’s assistant on pre-production and principle shoot of the Michelle Payne biopic starring Teresa Palmer and Sam Neill.
That collaboration prompted Griffiths to laud Dyer as a “sister zeitgeist hunter” during her Hector Crawford memorial lecture at Screen Forever.
After bonding on Ride Like a Girl, Rachel Griffiths and emerging writer-director Madeleine Dyer are jointly developing a TV comedy series based on a prominent Australian actor.
Describing Rachel’s concept as a new age, male version of Eliza Dolittle, Dyer says the plot will follow the actor as he learns to be ‘woke’ in how he relates to women and conducts himself in the current social climate.
They envisage an Extras-style series where actors and celebrities will play versions of themselves and are still in discussions with the actor about his participation.
Dyer spent five months with Griffiths on a Screen Australia-funded director’s attachment and director’s assistant on pre-production and principle shoot of the Michelle Payne biopic starring Teresa Palmer and Sam Neill.
That collaboration prompted Griffiths to laud Dyer as a “sister zeitgeist hunter” during her Hector Crawford memorial lecture at Screen Forever.
- 11/25/2019
- 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
Rachel Griffiths addresses the Screen Forever conference.
Is it a coincidence that three of the highest-grossing Australian films of 2019 – Rachel Griffiths’ Ride Like A Girl, Wayne Blair’s Top End Wedding and Rachel Ward’s Palm Beach – have all been helmed by directors who have backgrounds as actors? Not according to Griffiths.
“It’s not surprising to me that, in a moment where audiences for cinema releases are getting increasingly challenging, actor-directed content is punching above its weight at the box office, because performers have unique sensitivities that we develop by being at the coalface of the final content delivery,” Griffiths told Screen Producers Australia’s Screen Forever delegates last week.
Delivering the conference’s annual Hector Crawford Memorial Lecture, the Golden Globe-winning and Emmy and Oscar-nominated actor, who in recent years has also successfully turned to producing and directing, issued a rallying call to producers to break down silos...
Is it a coincidence that three of the highest-grossing Australian films of 2019 – Rachel Griffiths’ Ride Like A Girl, Wayne Blair’s Top End Wedding and Rachel Ward’s Palm Beach – have all been helmed by directors who have backgrounds as actors? Not according to Griffiths.
“It’s not surprising to me that, in a moment where audiences for cinema releases are getting increasingly challenging, actor-directed content is punching above its weight at the box office, because performers have unique sensitivities that we develop by being at the coalface of the final content delivery,” Griffiths told Screen Producers Australia’s Screen Forever delegates last week.
Delivering the conference’s annual Hector Crawford Memorial Lecture, the Golden Globe-winning and Emmy and Oscar-nominated actor, who in recent years has also successfully turned to producing and directing, issued a rallying call to producers to break down silos...
- 11/19/2019
- by jkeast
- IF.com.au
‘Ride Like a Girl.’
Australian writers, producers, directors, funding agencies and distributors should ask one key question when evaluating feature film projects: Does this warrant a theatrical release or is streaming a smarter option?
That’s among the most perceptive propositions put forward by a cross-section of screen industry professionals as If sought suggestions on ways to maximise the potential of Australian films as the independent film sector continues to suffer in the cluttered theatrical market.
Some ideas proferred – such as filmmakers identifying their audience at the outset, spending more money on marketing – appear to be stating the obvious. But the fact that some execs see the need to re-emphasize these points suggests lessons have not been learned in some quarters.
The Australian features released in cinemas this year plus holdovers have grossed $37.6 million, trailing the $54.2 million collected in the same period last year, according to the Motion Picture Distributors Association of Australia.
Australian writers, producers, directors, funding agencies and distributors should ask one key question when evaluating feature film projects: Does this warrant a theatrical release or is streaming a smarter option?
That’s among the most perceptive propositions put forward by a cross-section of screen industry professionals as If sought suggestions on ways to maximise the potential of Australian films as the independent film sector continues to suffer in the cluttered theatrical market.
Some ideas proferred – such as filmmakers identifying their audience at the outset, spending more money on marketing – appear to be stating the obvious. But the fact that some execs see the need to re-emphasize these points suggests lessons have not been learned in some quarters.
The Australian features released in cinemas this year plus holdovers have grossed $37.6 million, trailing the $54.2 million collected in the same period last year, according to the Motion Picture Distributors Association of Australia.
- 11/1/2019
- by The IF Team
- IF.com.au
Nominations for the 9th annual Australian Academy of Cinema and Television Arts (Aacta) Awards were unveiled in Sydney on Oct. 23, with Jennifer Kent‘s “The Nightingale” sweeping the film nominations with 15 nominations. The period thriller follow-up to Kent’s horror directorial debut “The Babadook” was followed closely by Anthony Maras‘ true story thriller “Hotel Mumbai” and Oscar nominee David Michod‘s Netflix period picture “The King,” with 13 bids apiece. On the TV side, gothic period drama “Lambs of God” shattered Aacta records with 14 nominations across TV categories, with an additional four subscription television award nominations. Winners will be revealed at a luncheon on Dec. 2 and a ceremony two days later.
Other nominees this year include Timothee Chalamet (“The King”), Dev Patel (“Hotel Mumbai”), Ben Mendelsohn (“The King”), Hilary Swank (“I Am Mother”), Ann Dowd (“Lambs of God”), Rachel Griffiths (“Total Control”) and Jacki Weaver (“Bloom”). Previous Aacta Award winner Damon Herriman...
Other nominees this year include Timothee Chalamet (“The King”), Dev Patel (“Hotel Mumbai”), Ben Mendelsohn (“The King”), Hilary Swank (“I Am Mother”), Ann Dowd (“Lambs of God”), Rachel Griffiths (“Total Control”) and Jacki Weaver (“Bloom”). Previous Aacta Award winner Damon Herriman...
- 10/23/2019
- by Rob Licuria
- Gold Derby
Dark thriller, “The Nightingale” and miniseries “Lambs of God” lead the pack at the Australian Academy of Cinema and Television Arts Awards. In nominations announced on Wednesday, they picked up 15 and 18 nods, respectively.
Jennifer Kent’s “The Nightingale” was one of six films nominated in the best film category. With others including Mirrah Foulkes’ “Judy & Punch,” and Rachel Griffiths’ “Ride Like A Girl,” as well as “Hotel Mumbai,” “Top End Wedding,” and ‘The King,” half are made by female directors.
Actor, Damon Herriman is the standout talent. He is nominated as best (film) actor for an extraordinary performance in “Judy & Punch,” best supporting actor in “The Nightingale,” and best (TV) supporting actor in both “Lambs of God,” and “Mr Inbetween.” Joel Edgerton gets three nominations as co-writer, best actor, and producer of “The King.”
Herriman is having an exceptional year. He also plays the role of murderer Charles Manson...
Jennifer Kent’s “The Nightingale” was one of six films nominated in the best film category. With others including Mirrah Foulkes’ “Judy & Punch,” and Rachel Griffiths’ “Ride Like A Girl,” as well as “Hotel Mumbai,” “Top End Wedding,” and ‘The King,” half are made by female directors.
Actor, Damon Herriman is the standout talent. He is nominated as best (film) actor for an extraordinary performance in “Judy & Punch,” best supporting actor in “The Nightingale,” and best (TV) supporting actor in both “Lambs of God,” and “Mr Inbetween.” Joel Edgerton gets three nominations as co-writer, best actor, and producer of “The King.”
Herriman is having an exceptional year. He also plays the role of murderer Charles Manson...
- 10/23/2019
- by Patrick Frater
- Variety Film + TV
‘Lambs of God’.
Lingo Pictures’ four-part TV drama Lambs of God has collected an unprecedented 18 Aacta Award nominations, while Jennifer Kent’s The Nightingale leads in film with 15 nods.
The Australian Academy revealed the full list of nominees for the annual awards today, with almost 60 to be presented across two events in Sydney in six weeks time.
Some 15 films are up for awards, though four dominate almost every category: Kent’s revenge tale, Anthony Maras’ debut feature Hotel Mumbai and David Michôd’s Netflix-backed The King, which each received 13 nominations, and Mirrah Foulkes’ dark comedy Judy & Punch, which earned nine. Each is nominated for Best Film alongside Rachel Griffiths’ Ride Like A Girl and Wayne Blair’s Top End Wedding.
Up in the Best Indie Film category (budgeted under $2 million) are Thomas M. Wright’s Acute Misfortune, Heath Davis’ Book Week, Rodd Rathjen’s Buoyancy, Imogen Thomas’ Emu...
Lingo Pictures’ four-part TV drama Lambs of God has collected an unprecedented 18 Aacta Award nominations, while Jennifer Kent’s The Nightingale leads in film with 15 nods.
The Australian Academy revealed the full list of nominees for the annual awards today, with almost 60 to be presented across two events in Sydney in six weeks time.
Some 15 films are up for awards, though four dominate almost every category: Kent’s revenge tale, Anthony Maras’ debut feature Hotel Mumbai and David Michôd’s Netflix-backed The King, which each received 13 nominations, and Mirrah Foulkes’ dark comedy Judy & Punch, which earned nine. Each is nominated for Best Film alongside Rachel Griffiths’ Ride Like A Girl and Wayne Blair’s Top End Wedding.
Up in the Best Indie Film category (budgeted under $2 million) are Thomas M. Wright’s Acute Misfortune, Heath Davis’ Book Week, Rodd Rathjen’s Buoyancy, Imogen Thomas’ Emu...
- 10/22/2019
- by jkeast
- IF.com.au
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