From March 31 to April 2, a selection of venues across Sydney’s vibrant inner suburbs will play host to an impressive roster of award-winning Australian and World premieres as part of the inaugural Inner West Film Festival.
“Sydney’s Inner West is one of Australia’s most creatively and culturally vibrant communities, a home to artists, musicians, writers, actors and filmmakers, and host to some of Australia’s best live music venues, restaurants, bars and cinemas,” explained Dov Kornits, co-founder/director of the Harbour City’s newest film celebration. “The only thing the Inner West was missing was its very own film festival.”
Premium venues such as Palace Cinemas Leichhardt and Dendy Cinemas Newtown will host over 15 special events, spanning a diverse range of genres, documentaries and live Q&As. Supported by Inner West Council, Inner West Film Fest will launch with the Sydney premiere of director Jub Clerc’s Indigenous coming-of-age story Sweet As (pictured, right), direct from an international film festival run that has seen it earn honours in Melbourne, Berlin and Toronto. The screening will be a free community outdoor event held at Marrickville Golf Club on March 31.
The World Premiere of the dance drama The Red Shoes: Next Step, co-directed by Jesse Ahern and beloved local actress Joanne Samuel, is a major programming coup for the new festival team, with the Juliet Doherty-starrer headed for general release Down Under from April 6. Other high-profile premieres include the first Australian showings for Camille Hardman’s and Gary Lane’s US doco Still Working 9 to 5, an entertaining look at the impact of the classic film comedy; Jason Wayne Trost’s CGI superhero fantasy/satire, FP 4EVZ; and, Georgian director Ioseb 'Soso' Bliadze’s acclaimed drama, A Room of My Own.
Along with such potent local indie cinema as Molly Haddon’s sibling saga The Longest Weekend, Susie Dee and Trudy Hellier’s all-girl nighttime odyssey SHIT and John Hughes and Tom Zubrycki’s underground cinema deep-dive Senses of Cinema, come fresh works from such diverse international film cultures as Ireland, Finland and Belgium (co-production entities on Klaus Härö’s My Sailor, My Love); The United Kingdom (Chris Foggins’ crowdpleaser Bank of Dave, with Hugh Bonneville); Switzerland, Ukraine and France (partners on Elie Grappe’s sports drama, Olga); and, Italy and Germany (bad-boy auteur Abel Ferrara’s religious biopic Padre Pio, starring Shia LeBeouf; pictured, below).
Other highlights include two retro screenings - Alan White’s 1999 drama Erskineville Kings (pictured, top), one of the few features shot in the inner-city and featuring early roles for Hugh Jackman and Joel Edgerton, which will screen from a 35mm print; and, a 4K restored version of Sergio Leone’s epic 1968 western classic, Once Upon a Time in The West, starring Henry Fonda.
Fellow fest founder and co-director Greg Dolgopolov says, “We want to bring the community in the Inner West together for an exciting celebration of film. We want to [acknowledge] not just the cultural richness of the Inner West, but the medium of film itself, and its ability to bring people together. We are so excited to kick off what will hopefully become an essential date on Sydney’s cultural calendar every year and will make one of Australia’s most vibrant artistic and cultural hubs even more exciting.”
Full program and session details can be found at the 2023 INNER WEST FILM FESTIVAL official website.
The 2021 Fantastic Film Festival Australia (FFFA) promises a second round of extraordinary real-life horror stories, paradigm-shifting film realities and surrealistic studies of society’s fringe-dwellers inhabiting the 21-film strong roster. The new line-up of the world’s most daring works from filmmakers with innovative and unique perspectives will screen from April 16 to May 1, exclusively to the Lido Cinemas in Hawthorn, Victoria and the Ritz Cinema, Randwick in New South Wales.
“Genre cinema has an unmatched ability to conjure up a truth that is raw and gets under our skin,” said Fantastic Film Festival Artistic Director Hudson Sowada, via press release. “Having leaped into 2021 with a sense of hope, we should look to those on the fringes to take risks and help us question reality.”
Hot off a Sundance premiere is the Opening Night film, Prisoners of the Ghostland, the some-would-say inevitable pairing of two cinematic renegades - Japanese auteur Sion Sono, cult-thespian Nicolas Cage (pictured, right), with enigmatic starlet Sofia Boutella (The Mummy; Climax) also in the mix. This giddy ‘acid-Western’, set in a fantastical fictional city that is half Westworld/half Tokyo Disney, follows Cage’s shotgun-toting outlaw on a rescue mission through a post-apocalyptic world.
Sono is one of several Asian genre filmmakers being celebrated with a program placement in the FFFA 2021 line-up. Korean writer-director Kim Yon-hoon’s neo-noir Beasts Clawing at Straws follows a group of cash-strapped people and a bag full of money, and Get the Hell Out (pictured, top) is a manic zombie movie about braindead politics from Taiwanese auteur I-Fan Wang.
Closing the Festival is the shocking and boundary-pushing Mother Schmuckers, from directors Lenny and Harpo Guit. Set on the lawless streets of late-night Brussels, this odyssey of the absurd conveys the existential angst of two dim-witted brothers whose quest to find their mother’s beloved dog leads them into a reality like no other.
Matters of the heart are explored in three deeply unconventional love stories. In Ben Hozie’s PVT Chat, a gambler becomes obsessed with his favourite cam girl (Uncut Gems’ Julia Fox; pictured, right), blurring the line between customer and client; a reclusive and deeply repressed man hatches the perfect plan to win the heart of his new tenant in Parish Malfitano’s Aussie-noir indie, Bloodshot Heart; and, the very real condition objectophilia is explored in Zoé Wittock’s Jumbo, the fable-like story of an amusement park worker (Portrait of a Lady on Fire’s Noémie Merlant) entering an erotic relationship with a merry-go-round.
Non-fiction films exploring the more fantastic elements of our world are also premiering at FFFA. The latest from the complex creativity of director Rodney Ascher (Room 237; The Nightmare) is A Glitch in the Matrix, a dissection of the 21st century’s greatest existential fear - are we living in a simulation?. And Miles Hargrove’s Miracle Fishing: Kidnapped Abroad chronicles the gruelling process of rescuing his father from a Colombian drug cartel holding him ransom for six million dollars.
A highlight of the festival will be a rare screening of Elem Klimov’s gruelling 1985 Russian war epic Come and See, presented as a 2K digital restoration. A crushing, ruthless depiction of the potential of human evil, Come and See (pictured, right) is an anti-war film reimagining the events of 1943, when the Nazis entered Belarus, as experienced through the eyes of a naïve boy.
Special festival events including a carefully curated program of 16mm films from the 60s, 70s, and 80s in titled Analogue Orgy (Lido Cinemas only) and a staging of Dungeons & Dragons, in which fans can craft their own fantastic adventure with the help of Sydney and Melbourne’s most experienced Dungeon Masters.
FANTASTIC FILM FESTIVAL AUSTRALIA will run Friday, 16 April – Saturday, 1 May at the Lido Cinemas, Hawthorn and Friday, 16 April – Friday, 30 April at the Ritz Cinema, Randwick. Ticket and session details can be found at the event’s Official Website.
Writer/director Sandra Sciberras’ fourth feature The Dustwalker, in which an insidious alien parasite invades an Australian outback township, is her first genre effort. Re-energising some popular sci-fi tropes with a distinctive local flavour, fierce female leads and strong directorial vision, Sciberras recalls, “long hours in the heat of the day and freezing conditions in the night” over the course of the production, which shot on location in the remote West Australian interior.
After the films Australian Premiere at Monster Fest 2019 and global rollout via SC Films, Sandra Sciberras (pictured, above) talks to SCREEN-SPACE as The Dustwalker makes its way to DVD through Umbrella Entertainment...
SCREEN-SPACE: Were you as surprised as many of us that Sandra Sciberras decided to tackle an alien invasion pic? What piqued your interest in this genre concept?
SCIBERRAS: Oh, I think there would be a lot of directors tackling all sorts of genres in Australia if we had the opportunity to do it. I’ve wanted to make this film and others like it from the moment I left film school 20 years ago. Aliens, monsters, virus, invasion films, with great characters, [are] just good drama. It goes back to the early days of cinema, films like Frankenstein and King Kong, to the genre’s golden era in the 1950s with War of the Worlds, The Blob, The Day the Earth Stood Still and Godzilla. Then we get to the best of the best with Alien, The Thing and more recently with The Host. My interest never left, it was more that the opportunity became available. (Pictured, above; Jolene Anderson, as Joanne, in The Dustwalker)
SCREEN-SPACE: Are there themes and character traits that tie your work to date with The Dustwalker?
SCIBERRAS: Characters living [in] or trying to get out of small towns are the main things. I blame all the small town movies I grew up watching with my dad for that one, all those westerns. In three of my films, themes centre around the relationships between sisters or mothers and daughters in The Caterpillar Wish, to sisters in both Surviving Georgia and now The Dustwalker. I have a fab sister and we never had conflict growing up with each other but certainly did around us, so the bonding of siblings is at the heart of those three screenplays.
SCREEN-SPACE: The dynamic that you forge by having three strong female leads is not often seen in this all-too-often male-centric genre. What strengths did Jolene Anderson, Cassandra McGrath and Stef Dawson bring to the narrative, and the shoot?
SCIBERRAS: For starters, they are just incredible actors, human beings and creators. I love working with actors who understand character and story in the same way the writer does. These women are all writers who had a great understanding of their characters the moment we discussed the roles and the overall story. They impacted the narrative during the shoot because they made sure I didn’t miss an important beat on screen. Sometimes as a director I can work very fast. I come from low budget filmmaking so I can move on very quickly once I know I have the bulk of a scene and I have to get to the next set up. The Dustwalker is a $10million film made [for] under $2million, so there are many shots in this film that each actress made sure I got at different times in order to get the detail that the film would eventually need on screen. I love a collaborative set with actors above all else. And this was a hard shoot. Their constant, insanely happy faces, when the conditions really didn’t deserve it, was amazing! (Pictured, above: John Morris, as Frank, in The Dustwalker)
SCREEN-SPACE: Creature design is crucial to these films. How much input and backstory did you provide your team with regard to the alien’s physiology?
SCIBERRAS: The creature was definitely a process. I had strong descriptions and design elements in the script, [which] had more of a The Day the Earth Stood Still-kind of alien; a metallic humanoid with huge swords, glistening in the heat of the red desert, but in the end that didn’t work. It just wasn’t expressive enough. I wanted what was in the script to be something more creature-like, with strong physical movements that enabled it to threaten and, most importantly, communicate with the characters. That was the physiology underpinning the whole story - the creature will do anything to clean up its mess of bringing a dangerous virus to earth no matter what gets in its way. The humans have no idea of this until the final scenes when there is a confrontation between them all. The post production company worked with a couple of different designers until we found the right designer who took the creature on and was instrumental in getting it to the screen. (Pictured, above; Stef Dawson, as Samantha, in The Dustwalker)
SCREEN-SPACE: Have you purged your creative impulses of all things sci-fi/horror for now, or is the genre film something you'd like to explore further?
SCIBERRAS: Absolutely I’ll explore further! I’m in the process of writing a science-fiction project now, and also a straight drama that I’ve been dying to write. I think a director like me who started their career in drama finds the cross over to sci-fi natural. I love strong horror but can’t write it as well as others. As a director I'm interested in attaching myself to good scripts no matter what genre, but as a writer I'm going to be much more specific about what I write.
Victoria Wharfe McIntyre has crafted a truly unique Australian film with her debut feature, THE FLOOD. Pulsating with the energetic genre beats, it is also a muscular pushback to how First Nation People have too often been portrayed in contemporary cinema. Set during the years of WWII, The Flood is the story of Jarah (Alexis Lane, in a star-making debut), an Indigenous woman who unleashes fury when colonial Australian society inflicts upon her and her people one injustice too many. Which sounds like a template for a ‘vengeance western’, and it’s certainly a fine one of those, but The Flood also explores themes of redemption, reconciliation and forgiveness.
Having shot her film in the magnificent Kangaroo Valley hinterland in southern New South Wales, Victoria Wharfe McIntyre is now on the promotional trail, supporting her work’s theatrical season ahead of the January 6 digital release via Madman Films. She spoke to SCREEN-SPACE about the passion she has for meaningful storytelling and how it brought her first film to life...
SCREEN-SPACE: What aspect of Australia's relatively young history - the treatment of our Indigenous culture; colonisation and integration; patriarchal dominance - most inspired the narrative of The Flood?
VICTORIA: The very first moment of inspiration was a desire to see Australia’s First Nation People represented as powerful, wise, culturally profound spiritual warriors who kick arse on screen. I wasn’t seeing films with Indigenous heroes who come out on top; those characters often seem to reside in the position of victim or without real agency, so I wanted to make something in partnership with as many First Nation People as possible that captures country, tenacity, majesty and power. (Pictured, right; Alexis Lane as Jarah)
I’m also fascinated by life at home during the world wars. War films generally depict the battlefield on foreign soil, [while] the home front rarely gets a look in. Those years are such potent times socially and culturally. My short film Miro, about a returning Indigenous soldier and his journey to right the wrongs done to him and his family, was very well received. That made me wonder about the experience of a woman of colour in that era, a time long before women thought of chaining themselves to the bar or burning their bras. Putting those inspirations together and a fire in the belly [to address] social, political, cultural, economic and environmental injustice forged our narrative.
This country [has] the most ancient, powerful, insightful, spiritual culture on the planet with so many exotic, pristine and unique wild places. Our nation has these great gifts, jewels in our crown, and we don’t appreciate how truly blessed we are. Showing the beauty of our country and First Nation People is at the heart of the film.
SCREEN-SPACE: And what about film history, both Australian and internationally? What are the works that have inspired you and might sit alongside The Flood when it is considered in a cultural context?
VICTORIA: So many films and filmmakers have inspired me and both consciously and unconsciously play out in my creative vision. Tarantino’s Django Unchained and Inglorious Basterds; Jane Campion’s In The Cut and The Piano; David Lynch’s Blue Velvet; Kubrick’s Barry Lyndon and 2001 A Space Odyssey. Works by Denis, Almódovar, Armstrong, Cameron, Thornton, Weir, Bigelow, all lodge in the psyche. There’s a touch of Mad Max and I Spit On Your Grave, too. But the film that started it all….Star Wars.
I’m not sure there are particular films that sit alongside The Flood (will leave that to others); rather it dabbles and plays and embraces something from all of the films that have stayed with me. Films reference each other; art works are built on top of our collective canon and we aim to achieve fresh combinations of ideas, themes, forms and ways of seeing. (Pictured, left; l-r, Shaka Cook, Dalara Williams and Alexis Lane)
SCREEN-SPACE: Some commentary cites a Tarantino-like 'revisionist history' element. Do you agree? Should cinema go down this path, or is that exactly what cinema should do?
VICTORIA: The film is revisionist in the sense that it subverts the dominant paradigm of Anglo Saxon supremacy that litters our nation’s cinematic oeuvre. Justine Brown Mcleod, one of our Yuin Nation creative producers, said the other day that, “it was inevitable that people would come, that we would be invaded, but it is how we survive the invasion that is important”. The Flood is a microcosm of that survival story; yes, First Nations People have lived under an invading regime but their culture, stories, languages, wisdom, lore, spirit remains strong and our heroes live in that world throughout the film.
Cinema should go down any, every and all paths. We need to look at every aspect of human and planetary life from what currently is to what we want or envision it to be. If you see yourself on screen as a hero then, in that moment, you too are heroic and that is something we all have the potential to be in our lives. We need to see different representations of that.
SCREEN-SPACE: There's an element of fearlessness in your directing; the shifts in tone, the location work, the performances you draw, all suggest you were swinging for the fences on your first feature film. What was/is your directing ethos?
VICTORIA: (Laughs) I actually thought, "this might be my only opportunity to make a feature," so I wanted to give it everything. Go bold, go epic, be brave, always with truth, passion and aliveness being the most important things to capture. My producing partner Armi Marquez-Perez totally trusted [my] vision and had my back through some hairy times. Thanks to him we could make the film that was calling us to meet it. (Pictured, right; Victoria Wharf McIntryre, on-set)
I have two highly influential long term creative partnerships. Composer Petra Salsjö will often write music off the script and we can then work on set with that music. In this case, she had to write diegetic pieces for the film particularly for the Mackay Gang who have their own version of a theme song. The score is also fearless and the strength and support of our partnership encourages each of us to operate with creative freedom. I love the magic that comes from that. Petra’s score is truly incredible and will be released to coincide with the film’s digital release in January.
And DOP Kevin Scott and I prefer to be dynamic and fluid in the moment. We work with the actors on set, see how they are going to play it and from there, determine how we will shoot the scene in the most creative way possible. We wanted to press on with our extended ‘oner’ style, shooting every scene in one shot wherever possible. We have an absolute ball on set and are extremely honest with each other and that fosters courage and the strength to trust and go for it.
Film is a giant collaborative work with a large collection of highly talented artists. Nothing excites me more than the crucible of the set, running with the energy, creativity, vitality of the moment. I’d forsake a ‘perfect shot’ for some raw passion or truth any day of the week.
THE FLOOD is currently in national theatrical release via FanForce and will debut on digital on January 6 via Madman Films.
The burgeoning online film festival landscape expands further with the launch of the 2020 Virtual Indigenous Film Festival this week. In conjunction with National Reconciliation Week, streaming provider Fanforce TV will present in-home content that speaks directly to the history, culture and society of Australia’s indigenous people.
National Reconciliation Week aims to teach all Australians about our shared histories, cultures and achievements. This year's theme, #InThisTogether, reminds us that we all shape our country’s journey towards an equitable and reconciled nation. National Reconciliation Week is held annually from 27 May to 3 June, as these dates commemorate two significant milestones in the reconciliation journey - respectively, the successful 1967 referendum and the High Court Mabo decision.
The programming of the Virtual Indigenous Film Festival highlights narratives that address the intertwined ancient and contemporary indigenous experience. The six films to screen are Maya Newell’s In My Blood it Runs (pictured, right), a coming-of-age story pitting the traditions of the Arrernte/Garrwa people against state education; Daniel Gordon’s account of footballer Adam Goodes’ journey, The Australian Dream; Paul Williams’ biography of the late singer/songwriter, Gurrumul; Nicholas Wrathall’s Undermined: Tales From the Kimberley, an insight into the industrial exploitation of First Nation’s sacred land; Sera Davies’ chronicle of a family fighting for the return of their patriarch’s legacy, Namatjira Project; and, Aaron Petersen’s moving account of a disenfranchised Aboriginal youth and his rite-of-passage to manhood, Zach’s Ceremony (pictured, top).
"It will be a great opportunity for us to speak directly to people everywhere about our film and its educational programs that have been making a real impact,” says Zach Domadgee (pictured, right), via press release. “This is what Reconciliation Week is about."
“We are hoping that the Festival will inspire lots of discussion with audiences right across Australia and New Zealand.” says Fanforce founder Danny Lachevre. “At most festivals it is difficult or intimidating for the audience to ask questions or join the conversation. This will remove those barriers and enable everyone to join in from the privacy of their homes.”
SCREEN-SPACE acknowledges and pays respect to past, present and future Traditional Custodians and Elders of this nation. Aboriginal and Torres Strait Islander peoples should be aware that the festival may contain images or names of people who have passed away.
Sunday, March 26, 2023 at 7:20AM 
Premium venues such as Palace Cinemas Leichhardt and Dendy Cinemas Newtown will host over 15 special events, spanning a diverse range of genres, documentaries and live Q&As. Supported by Inner West Council, Inner West Film Fest will launch with the Sydney premiere of director Jub Clerc’s Indigenous coming-of-age story Sweet As (pictured, right), direct from an international film festival run that has seen it earn honours in Melbourne, Berlin and Toronto. The screening will be a free community outdoor event held at Marrickville Golf Club on March 31.
Other highlights include two retro screenings - Alan White’s 1999 drama Erskineville Kings (pictured, top), one of the few features shot in the inner-city and featuring early roles for Hugh Jackman and Joel Edgerton, which will screen from a 35mm print; and, a 4K restored version of Sergio Leone’s epic 1968 western classic, Once Upon a Time in The West, starring Henry Fonda. 
