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Li Mu had left the village of Qiuzhuang in his teens to pursue a life of art in the city and then abroad. Twenty-three years later, he returned with a bold, maybe impossible, creative idea: to bring his most beloved modernist artworks by canonical Western artists to his tiny village.
An essay film by filmmaker and archivist Sari Braithwaite, [Censored] offers an overview of film censorship in Australia, told through an ever-changing collage of images compiled from the footage that was cut from films released domestically between 1958 and 1971.
Anne Deveson was a magnificent woman: the first female talk-back broadcaster in Australia, she was also a writer, activist, mental health advocate, and mother. When director Sari Braithwaite met Anne in 2015, she was attempting to bundle up thousands of private papers for the National Library of Australia (NLA). Sari offered to help and over the next six months they transform Anne's 85-year paper trail into a mountain of neatly stacked brown boxes for the permanent collection at the NLA. But during this time, Anne's brain starts to fail her. Alzheimer's, the illness that took her mother and grandmother, is gaining hold, and she is feeling the pressure to move into care. While she has stacks of miscellaneous files to sort, Anne has resolved to keep living in her own home, on her own terms. As she seeks to make sense of her life through the archives, she discovers that the storylines she's seeking to piece together are becoming harder and harder to find.
Janet Sharrock has two children and Brent “Buddha” Barnes has three; the pair has a meet-cute at the local RSL, marry and unite their families, Brady Bunch style. Now grown up, Becky (famous for being one of only 80 people in the world with Highly Superior Autobiographical Memory), Jessica (a comedian living with depression), Brendan (who aspires to take over Buddha’s repair shop), and young Kylie and Dylan laugh, cry, contemplate existence and dream big with their parents, finding joy and stability in one another as they face immense change.
A five-channel video installation commissioned for the permanent exhibition space at the Australian Centre of the Moving Image (ACMI). “The camera doesn’t just capture us, it frames who we are and how we’re seen. Since the camera became more accessible in the mid-20th century, artists and amateurs alike have turned the lens on themselves to create a stage both private and public. This tradition is continued, amplified and transformed through reality TV, the internet and social media, the latest forms to use straight-to-camera techniques to share our common humanity, project authenticity and illuminate how a sense of self can be constructed through the moving image.”
A compelling personal journey with David Stratton, as he relates the fascinating development of our cinema history. David guides us from his boyhood cinema experience of Australia in England, where he saw the first images of this strange and exotic landscape via the medium of film, to his migration to Australia as a ‘ten pound pom’ in 1963 and onto his present day reflections on the iconic themes that run through our cinematic legacy. All of this reflects a passionate engagement in a uniquely Australian medium. Parallel and at the heart of the series is the story of an industry whose growing pains David has witnessed over a lifetime. Alongside David, the protagonists of this history are the giants of Australian cinema – both behind the camera and in front of it.
Revered critic David Stratton tells the glorious story of Australian cinema, focusing in on the films that capture the nation’s true nature with candour, emotion and humour.
An hour-long documentary on the life and career of actor David Gulpilil.
John Farrow: Hollywood’s Man in the Shadows is the first documentary ever made about one of Hollywood’s most prolific yet forgotten filmmakers, John Villiers Farrow (1904 -1963). Part mystery, part biography, part film noir – the documentary follows the stranger than fiction story of this Australian born, Oscar-winning filmmaker. As one of Hollywood’s most enigmatic f igures, Farrow was the director of some 50 films; a sailor, a poet, a war hero, best-selling author, a religious scholar, a family man and a philanderer – a man who lived many lives – yet who left behind no memoirs, no interviews and no archival footage – and who today is only a shadow in the pages of film history.
Schtick Happens documents the conflict between documentary filmmakers and their subject after the release of the film, Original Schtick.