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Entries in Australian Film (6)

Saturday
Dec082018

PREVIEW: 2019 SCREENWAVE INTERNATIONAL FILM FESTIVAL

The strengthening of Coffs Harbour as a thriving film culture hub continues on January 10 when the 2019 Screenwave International Film Festival (SWIFF) rolls out the sandy red carpet. One of New South Wales’ most prestigious yet relaxed screening events, SWIFF has crafted a rigorously challenging roster, both artistically and intellectually, with bold new works from such fearless filmmakers as Lars Von Trier, Michael Moore, Lynne Ramsay and Gaspar Noé.

The two-pronged festival directing team of Dave Horsley and Kate Howat signal this year’s direction from Opening Night, with the hot-button social satire Terror Nullius kicking off the 16-day festival. A coarse, canny and brutally funny skewering of racism, patriarchy and social injustice, it is the work of Melbourne creative team Soda Jerk (pictured, below; Soda Jerk's Dan and Dominique Angeloro) who employ montage technique to rework classic Australian film scenes into fresh contemporary commentary. Closing Night honours have been bestowed upon Julian Schnabel’s At Eternity’s Gate, featuring a Golden Globe nominated Willem Dafoe as painter Vincent van Gogh.

The 2019 program statistics are impressive -60 films from 20 countries, including 14 Australian works and 30 films from women directors. Female identity and gender politics are addressed in the strand ‘Women of Action’, which highlights five films shot through the lens of women filmmakers. These include ¡Las Sandanistas!, documentarian Jenny Murray’s account of Nicaraguan warrior women; Stephanie Wang-Breal’s Blowin’ Up, an insider’s perspective of the lawyers fighting for the rights of sex workers in America’s broken justice system; and, Maysaloun Hamoud’s In Between, an Israeli-French co-production examining the clash of old and new cultures for three Palestinian women.

The vast World Cinema line-up fully justifies SWIFF’s standing on the international festival circuit, with 21 films set to unspool. Arriving uncut after inspiring shocked walkouts at its Cannes screening is Lars Von Trier’s serial killer saga, The House That Jack Built; bad boy Gaspar Noé captures a drug-addled descent into dance-party hell in Climax (pictured, top); and, the enigmatic Lynne Ramsay explores the nature of violence with leading man Joaquin Phoenix in her hitman thriller, You Were Never Really Here.

Some of the most acclaimed films from our global region will screen in World Cinema, with Ana Urushadze’s Scary Mother (Georgia/Estonia), Hirokazu Koreeda’s Palme d’Or winner Shoplifters (Japan) and Nadine Labaki’s Capernaum (Lebanon) all earning kudos from the Asia Pacific Screen Academy’s award body. Other countries represented include The Netherlands (Lukas Dhont’s Cannes FIPRESCI prize winner, Girl); Kenya (Wanuri Kahiu’s Rafiki; pictured, right); Bulgaria (Milko lazarov’s Aga); and, Poland (Spoor, from the directing team of Agnieszka Holland and Kasia Adamik).

Of course, Australian filmmakers are at the fore with strands covering fiction and non-fiction features. Heath Davis’ crowd-pleaser Book Week, Jason Raftopoulos’ father/son drama West of Sunshine starring the late Damian Hill, and Ted Wilson’s Tassie-set drama Under The Cover of Cloud are set to screen. The documentary sector will be represented by such acclaimed works as Ben Lawrence’s riveting Ghosthunter, Gabrielle Brady’s heartbreaking Island of The Hungry Ghosts, and Ben Randall’s teen-girl trafficking expose, Sisters For Sale, as well as the World Premiere of local filmmaker Ian Thompson’s Becoming Colleen.

International factual films will be presented under the banner ‘Pop Docs’, including Fahrenheit 11/9, the latest from political agitator Michael Moore, and Daniel J Clark’s flat-earther think piece, Behind the Curve. Mixing up fact and fiction will be the always popular ‘Music and The Makers’ line-up, which this year features Brett Haley’s feel-good hit Hearts Beat Loud, with Nick Offerman; Mantangi/Maya/M.I.A, Stephen Loveridge’s fly-on-the-wall coverage of the controversial UK rap sensation; and, Stephen Schible’s mesmerizing profile on the great Ryuichi Sakamoto, Coda.

SWIFF understand the breadth of its local audience and has ensured upmarket film festival types and the North Coast cool kids will be able to connect through the program. The surf film strand ‘Call of The Surf’ features the latest in ocean-themed cinema, including the late Rob Stewart’s final shark industry exposé Sharkwater Extinction and The Zimbalist Brothers profile of the Hawaiian surfing ‘new wave’ of the 1990s, Momentum Generation (pictured, right). And the amusingly-titled skater line-up, ‘Make America Skate Again’, will present three films including Bing Lui’s universally acclaimed Minding the Gap, a look at three friends who bond over their boards in America’s rust belt interior.

Two retrospective special presentations will delight cinema purists. The Coen Brothers’ cult classic O Brother, Where Art Thou? will screen accompanied by live music supplied by renowned local musos The Mid North Damn; and, in honour of the 130th birthday of the late master of cinema Charlie Chaplin, SWIFF with screen his timeless political satire The Great Dictator.

Indicative of the festival’s commitment to regional cinema and support of young filmmakers, SWIFF will screen the work of the 20 finalists in the Nextwave youth filmmaking contest. A year-long statewide high-school and community initiative which has seen 50 workshops held in 11 New South Wales’ regions will culminate with the award ceremony on January 18 at the C.ex Coffs Auditorium, where $40,000 prize money will be distributed amongst the next generation of Australian filmmaking talent. (Pictured, right; SWIFF festival director Dave Horsley)

Read the SCREEN-SPACE interview with Scary Mother director Ana Urushadze and star Nato Murvandze here.

Read the SCREEN-SPACE review of Book Week here.

The 2019 Screenwave International Film Festival will run January 10-25 at two locations, The Jetty Memorial Theatre in Coffs Harbour and the Bellingen Memorial Hall. Full session and ticket information can be found at the official SWIFF website.

Thursday
Dec062018

WHY PINOY BOY FROM OZ MATTHEW VICTOR PASTOR IS LOCAL INDIE SECTOR'S M.V.P.

Matthew Victor Pastor has been at Melbourne’s Cinema Nova complex since mid-morning, exhibiting levels of nervous energy entirely reasonable for a young director on the day he launches his latest feature. That said, with eleven hours until the World Premiere of MAGANDA! Pinoy Boy vs Milk Man, isn’t Matthew Victor Pastor likely to fade well before the post-screening Q&A, scheduled for midnight?

As it turns out, ‘energy levels’ aren’t a problem for the Victorian College of the Arts (VCA) graduate. Pastor is out of his seat and fronting the sold-out Monster Fest session as soon as the end credits roll. Despite the early hour (closer to 12.30am, as it transpires), almost the entire audience has stayed. Having experienced MAGANDA! Pinoy Boy vs Milk Man, hearing what its creator has to say about its journey to the screen suddenly holds a deep fascination.

“I see myself as a boy from the 3174 Noble Park, who is very lucky to be making movies, happens to be of Asian heritage, of mixed nationalities, who grew up in this great country,” says Pastor, who co-wrote (with Kiefer Findlow), directed and stars in what might best be described as a social satire/B-movie homage/personal drama hybrid born of Melbourne’s underground movie scene and pulsing with in-your-face observations on race, gender, sex, family and the nature of filmmaking. “Making films is a really hard thing to do and when they come from a place that is a bit crazy and feature characters that are marginalised and the kind that you are not supposed to make films about…well, that makes it all very exciting.”

Self-effacing, polite and unwaveringly upbeat in person Pastor transforms into the tortured, insecure, struggling director ‘Angelo’ onscreen. Between desperate encounters with his ex-girlfriend Jupiter (regular collaborator Celine Yuen; pictured, above), sexual failings with a patient prostitute (Kristen Condon) and anguished sessions with his family (played by the director’s real-life mother and sister), Pastor’s protagonist contemplates with increasing frustration his Filipino/Australian heritage and the social perception of his culture.

“It can be very hard to both create and live with that kind of character and then to ask an audience to sit with him for two hours,” admits Pastor, refreshingly frank in his assessment of his lead character. “When Angelo says, ‘I wonder what it would be like to wake up in a white man’s skin, with a white man’s cock,’ he reveals a character that is so self-deprecating and hates himself so much. The challenge was to bring some empathy for a character that can outwardly be so unlikable.” (Pictured, left; Anthony Lawang as 'Pinoy Boy')

Pastor pitches his performance in the upper range, but assures his audience that the character’s anxiety and increasingly unhinged persona comes from research and experience. “I spend a lot of times in online forums, reading a lot of people’s comments about identity politics. ‘Angelo’ is the combination of different ideals in that sphere,” he says. “He’s actually a lot more common than you think; a lot of what he says and who he is comes directly from discussions on Asian identity in those discussions.”

It is the third of Pastor’s films to explore the Asian experience in Australia, specifically from the Filipino point-of-view. Dubbed the ‘Aus-Filo Trilogy’, it began with his VCA Masters project, I am JUPITER I am the BIGGEST PLANET (2016), followed by the music video-influenced docu-drama Melodrama! Random! Melbourne!, which premiered at the Adelaide Film Festival in October.  Says Pastor, “I am making films from a different perspective, in the context of the diaspora of Asian cinema, and that’s the space that I am happy and proud to occupy.”

If MAGANDA! Pinoy Boy vs Milk Man is sounding a lot more serious than its title might suggest, the laughs come in the form of Pastor’s film-within-a-film. Recalling the scratched-negative aesthetics of VHS-era Filipino actioners, the subplot stars Koki Kaneko as a racist dairy farmer/serial killer, clad entirely in a white bodystocking, targeting Asian women on his murderous spree; on his trail is Pinoy Boy (Anthony Lawang, aka Lamaroc), a Filipino super-cop, and two local scumbag detectives, Shannon (the great Glenn Maynard) and Noll (fellow Melbourne underground auteur Stuart Simpson).            

There are moments in Pastor’s film where the improv comedy stylings (“We improvised a lot,” he laughs) and lo-fi stunt work inspires eye-rolls and giggles, but the director assured his audience that the themes and issues that he set out to address were always paramount. “It is about two worlds coming together,” says Pastor. “I don’t necessarily offer any resolution, but instead create an entry point for those worlds for the audience. There are multiple layers to achieve that - it could be the A-film, the more arthouse aspects, or the B-film genre stuff, but they both represent the same story told via different cinematic language. Is that not what coming from ‘two worlds’ means? This film is about what its like to fall between the cracks of those two worlds.”

MAGANDA! Pinoy Boy vs Milk Man will screen throughout Australia in 2019. It is currently seeking representation in overseas markets.

Thursday
May102018

RABBIT: THE LUKE SHANAHAN INTERVIEW

Cryptophasia (noun): Language and/or transmission trends formed between twins that are comprehendible only to them.

The mysterious bond that twins share has proven fertile material for some of the world’s great film directors, from Brian De Palma (Sisters, 1972) and David Cronenberg (Dead Ringers, 1988) to Spike Jonze (Adaptation, 2002) and Olivier Assayas (Personal Shopper, 2016). In crafting his film debut Rabbit, the story of one twin’s descent into madness as she searches for her missing sister, Australian director Luke Shanahan joins a club of fearless filmmakers willing to walk a dark, ambiguous narrative path. The combination of Shanahan’s daring storytelling and the acting bravado of a cast that boasts Adelaide Clemons, Alex Russell and Belgian star Veerle Baetens has ensured a prominent festival profile for the thriller, shot in the South Australian hinterland.

Ahead of his film’s screening in Brisbane as part of the Monster Fest Travelling Sideshow, Shanahan spoke to SCREEN-SPACE about the challenges he set himself with his first feature…  

SCREEN-SPACE: There are no easy passages, no sign-posted narrative shortcuts in Rabbit. You're not afraid to challenge, even confound your audience to tell this story…

SHANAHAN: I didn’t set out to create confusion. I’m not a fan of films that deliberately confuse. But I did see this as a film of two halves, of two twins, two stories. Then I leave it to the audience to join the puzzle together. I wrote the film as it appears and we shot the script in order. You could say the first half is more conventional than the second half and everyone seems to have a favourite half, referencing that idea of the favourite twin that Maude alludes to as her search continues. Identical twins are so intriguing that I did want the narrative journey to intrigue. Nothing is straightforward. 

SCREEN-SPACE: The film offers such a unique perspective I begrudgingly ask your influences. The 'Australian gothic' feel recalls Terry Bourke's Inn of The Damned (1975); some twists are reminiscent of Pascal Laugier's horror classic Martyrs (2008)…

SHANAHAN: You’ve nailed it in two. But I borrowed from a bunch more; throw in The Wicker Man, Rosemary’s Baby and Wake in Fright. I like horror played fairly straight and most of my ‘mood books’ I used as influence covered films that aren’t straight horror stories, with the exception of Martyrs. Drama really, played straight. (Pictured, above, from left: producer David Ngo, actress Adelaide Clemons, Shanahan, and actor Alex Russell) 

SCREEN-SPACE: When did the complex psychology shared by twins first present itself as a story concept?

SHANAHAN: I had a friend who was an identical twin and we started talking about connections. She mentioned that although at times she isn’t close with her twin, she would feel it if she was being tortured. I thought, okay, wow, that’s a weird thing to say. I then tried to examine (a basis) for a thrilling and intriguing tale. 

SCREEN-SPACE: The shoot finally happened after some convoluted financing gelled - SAFC, MIFF Premiere Fund, the Level K team, to name a few of the 'money men' who stepped up. What lessons were learnt about the modern indie film financing landscape by the time you started rolling…?

SHANAHAN: That’s a big question. I know to raise the funds, it does sound like a committee but all (the financiers) involved gave us full reign to make a truly independent film. And the most important thing that David Ngo (producer) gave me was creative freedom. Essentially, we had final cut and throughout the entire process, David and I worked together as sounding boards for each other. That may never happen again and I am truly grateful that I got to do it. The biggest lesson I learnt was to follow your gut and your instinct. When it’s just you, that’s all you've got. I like the responsibility of living by the creative choices you make. Is the film perfect? Of course not, but it was the film I wanted to make. (Pictured, above: Shanahan on set with DOP Anna Howard; photo Ian Routledge

SCREEN-SPACE: There are some bold stylistic flourishes, reminiscent of Italian giallo cinema. Firstly, the 'big red screen', that moment when the entire screen is filled with a 'Lynch-ian red'…

SHANAHAN: That was a moment that would no doubt have been pulled up by a committee or a conservative distributor. I still can’t believe we got away with a big chunk of red in the middle of the film. That makes it sound like an indulgence, which it is, but it lends itself to the dichotomy of the film and the narrative structure of two halves. It’s crucial in that respect. That signals that we’ve gone down the ‘rabbit hole’, the moment that the film shifts. I wanted to give the audience a moment, smothered with a big fat organ chord , to take that in. It’s over the top for sure, but I like it. It’s a tip of the hat to giallo and Italian horror cinema, a broad brush stroke that makes me smile. (Pictured, above: Adelaide Clemons, as Maude, in Rabbit) 

SCREEN-SPACE: And, yes, that “big fat organ chord”, that operatic wall-of-sound that you employ... 

SHANAHAN: Mike Darren (composer) and I sat down at the start and I told him that no idea would be taken off the table. Be bold. Be loud. We’re making a wild film and I like soundtracks that aren’t just backing music or wallpaper. Music is a character for me and that’s my Kubrickian reference. I can turn the picture off and hear the film. I love that. I’m a big collector of soundtracks and I hope that we’ve reared a nice one here too. 

SCREEN-SPACE: Rabbit relies upon a very precise structure to convey the themes of memory and connectivity and loss. Do you adhere to the old adage that the editing process is the final draft of the script?

SHANAHAN: I guess I do. Stu Morley (editor) and I have been working together for many years. We always would speak about the breath and flow of the drama. It’s what we relied upon. He has such a beautiful manner when it came to working scenes in the edit. He’d make a broad cut and then we’d finesse. He told me to concentrate on what information I needed to convey from each scene. This was invaluable, as I’d sometimes get caught up with the flourishes, as you do shooting your first feature. We also had voiceover that we needed to guide the audience through a lot of the third act. It was a juggle but early preparation meant that most of what we set out to do didn’t throw too many curveballs within the edit. Our aim was to make sure we gave the audience enough information to understand the story without pulling back the curtain completely.  You’ve got to have that chat in the cafe or bar after the film, don’t you?

RABBIT will screen May 25 at Events Cinema Myer Centre as part of the 2018 Monster Fest Travelling Sideshow. Details can be found at the official website. A North American release is being planned through distributor The Orchard.

Saturday
Nov182017

LOST GULLY ROAD: THE DONNA MCRAE INTERVIEW

MONSTER FEST 2017: The great horror films, works that linger in the minds and hearts of genre fans, are those that have meaning, convey a message, confront truths. Writer/director Donna McRae’s Lost Gully Road establishes a classic ‘cabin in the woods’ premise; a lone heroine (Adele Perovic) in a secluded location, an unseen menace threatening her, physically and psychologically. But McRae, a Lecturer in Film & Television at Deakin University when not behind the camera, wanted to confront the very nature of violence against women within her genre setting. The shoot was isolated and McRae’s depiction of domestic brutality, unflinching. “I think that this was the only way to do it,” the director told SCREEN-SPACE, ahead of the World Premiere of Lost Gully Road at Monster Fest on November 25….

SCREEN-SPACE: Lost Gully Road adheres to an Australian cinematic tradition via its contemporary spin on the 'haunted country home' genre. What are the films, books and art that influenced the project?

MCRAE (pictured, above): A sub-genre of recent independent horror films has been the secluded house by the lake, or deep in the forest, as a site for psychological upheaval. Films like Honeymoon (2014) or Shelley (2016) use this trope well – the seclusion, the claustrophobia and the landscape. The Australian Gothic is fascinating, and I think the landscapes rather than films from here are influences, although I loved the elegant simplicity of Lake Mungo (2008) and Picnic at Hanging Rock (1975) and The Babadook (2014).  The presumed quiet of the bush is something that intrigues me. We scouted for locations in The Dandenongs frequently. It’s so cinematic but offers an uneasy feeling of one step wrong and you are lost. There is a sense of concealment; unlike the outback where you can see what is coming, in the forest one never knows what is out there. Having said this, some of my favourite films are the older ones that use the house as character, such as The Haunting (1963), The Innocents (1961) and, strangely, The Ghost and Mrs Muir (1947).    

SCREEN-SPACE: A key thematic concern is how the past continues to haunt the present. Why is your film specifically, and the horror genre in general, so effective in dealing with grief and memory?

MCRAE: I have always been interested in ghosts and haunting. In fact my Phd was on (cinema) ghosts and memory. I feel that they are inextricably linked. The horror genre, or its subgenre the ‘ghost film’, is a fantastic place to delve into this area as it offers an arena to present many levels of an idea. You can represent grief or memory as a ghost, which, depending on which way the story goes, can be loving, traumatic or very nasty. So it is no wonder that this genre is so inventive. (Pictured, right; a scene from Lost Gully Road) 

SCREEN-SPACE: Your casting of Adele Perovic (pictured, below) catches her primed for her first feature lead role. How close was she to the 'Lucy' that you and writer Michael Vale envisioned, and what did she bring to the characterisation?

MCRAE: I had seen Adele on television, and was struck with the immediacy of her performance. When we first spoke, she came across as the embodiment of our character – a millennial that was smart, aware of the world around her but with her own point of view. We only had two weeks to shoot so we had no rehearsal time scheduled, [yet] Adele gave the most naturalistic performance, which I doubt would have been possible if we had tried to rehearse. She put herself in the character’s shoes and just went with it. It was a textbook study of an actor producing truth.  It was important to us all that she remain ‘in the moment’, to make decisions for her character, and I would only interfere if I wasn’t seeing it in the monitor. It was risky, but having trained as an actor myself, I know how hard acting is on a film set, so I was happy to take the risk.  My DOP Laszlo Baranyai is a great believer in letting the actor do what they need to do and then we shoot it. Laszlo and I had days of script conversations, so by the time we got to the set, we had made many decisions. He just got on with his department and I concentrated on the performance. I did have my favourite scenes though in my head, like the one where she walks down the corridor with a camping lantern. I wanted it a particular way, so I very much led those.

SCREEN-SPACE: Violence and horror films go hand-in-hand, of course, but your use of violence is not exploitative or gratuitous. What functionality does your depiction of violence serve?

MCRAE: I needed to get my point across. I wanted to show a disintegration of trust and the complications of when no means no. It is a film about random and domestic violence and I saw no point tiptoeing around that. I made choices about how it would be done; I didn’t want to make it a typical ‘cinema’ depiction of domestic violence. As a female filmmaker I found it hard to write these scenes but they were connected to the story so they needed to be in there. These were the only scenes that we rehearsed with a stunt co-ordinator and we were very careful to make it seem real. The fact that Adele does it all by herself is amazing. (Pictured, above; the director, on location).

SCREEN-SPACE: The final frames hint at the cyclical nature of violence against women and the inevitability of those actions. Is that the message you hope audiences will take from the film?

MCRAE: The primary message that I want to get across is that no means no. It doesn’t mean yes but I’m just being coy, it means I’m not interested and please stop. Women’s actions should never be misconstrued. And yes, the last frames of the film do reflect the cyclical nature of violence against women. But there is also another aspect, and that is the enablers of this violence. I don’t want to give the story away but there are lessons to be learned here – and I have seen it time and time again – people let things slide because of connections.

LOST GULLY ROAD will have its World Premiere on Saturday November 25 as part of Monster Fest 2017. Ticket and session details can be found at the official festival website

Thursday
Mar092017

THE BEDROOM: THE ANNA BROWNFIELD INTERVIEW

Like the trailblazing feminist pornographer Candida Royalle before her, Anna Brownfield has determinedly chosen the path less travelled to fulfil her artistic vision. The Melbourne-based filmmaker has garnered international acclaim for her works The Money Shot (2007), The Band (2009) and Making it Handmade! (2010), cinema that challenges the mainstream definition of pornography. Her latest feature, The Bedroom, captures key moments in the development of Australian sexual culture across 50 years, all set within the walls of the particularly action-packed title space. Ahead of its US premiere at the CineKink 2017 Film Festival, Anna Brownfield spoke frankly with SCREEN-SPACE about her unique status in the Australian film sector and flying the flag for ethical erotica…

Pictured, above: Anna Brownfield, left, with The Bedroom actress Aeryn Walker (c) Megan Spencer 2014

SCREEN-SPACE: In general terms, how would you rate the depiction of sexuality on Australian cinema screens?

ANNA BROWNFIELD: I think Australians have a healthy attitude towards sex and sexuality on screen.  However, what we see on Australian screens ebbs and flows depending upon our political climate. A lot has changed since the introduction of the R rating in the 1970s and the flourish of sexploitation cinema.  One of my favourite is Fantasm directed by Richard Franklin under the pseudonym Richard Bruce, especially the scene where a housewife takes revenge on a thief, on the kitchen table using household items. These films reflected the changing attitudes to sexuality of the time but were made predominately from a male perspective. Now, I think our mainstream film industry in Australia is quite conservative and likes to play it safe when it comes to funding films.  While we have a history of sexploitation cinema, I can’t see the funding bodies supporting this type of film today.

SCREEN-SPACE: Is there a filmmaking subculture that strives to bridge the gap between conventional narratives and graphic sexuality? Is it possible that such a movement could some day flourish?

ANNA BROWNFIELD: When I started making explicit films, there were quite a few art house films being distributed that had storylines and explicit sex; Basie Moi, Nine Songs, Intimacy, Romance, Sex and Lucia to name a few. But this is nothing new, have a look at lots of films made in the 70s! The directors of those films were saying we see actors really crying on screen, so why not see them have real sex.  For me, it was about making films that focused on women’s sexual desires and fantasies, objectifying the male body and bring a female gaze to the genre. That coupled with storylines, feminism, high production values and being creative with the visual language to create something sensual and erotic but also explicit. (Pictured, above; Lily Rei and Rob Paulson in 'The 1960s' from The Bedroom)

SCREEN-SPACE: Despite spanning 50 years, is there a 'constant' that your depictions of sexuality in The Bedroom capture? The aesthetics change greatly, but what stays the same?

ANNA BROWNFIELD: Honest, authentic depictions of sex and sexuality, produced in an ethical manner that give agency to performers and promote safe sex.

SCREEN-SPACE: Where do your films in general, and The Bedroom in particular, sit within the broad definition of 'pornography'? Few films employ both graphic imagery and historical context such as The Bedroom.

ANNA BROWNFIELD: When I began, I called my films feminist erotica, because when I used the word porn, people made assumptions about the types of film I made regarding aesthetics and sexual stereotypes.  I frequently use the word explicit and, depending where I am, will use the word pornography. When I made my first explicit feature, The Band, my producer was worried that it wasn’t explicit enough to be called porn but too explicit to be arthouse.  In the end, it was distributed by both sectors of the industry. The Bedroom screened at the Porny Days film festival in Zurich, Switzerland.  I couldn’t attend but one of my friends said there was a lot of discussion after the screening, about if this was in fact a porn film or not.  One of the things I endeavour to do is to push the genre.
As a society, we have come to accept a formulaic depiction of explicit content, or in a term coined so beautifully by Candida Royalle as “porn by numbers”.  Porn and its consumption is still surrounded by so much taboo, I think we often don’t question what we see on screen and I wanted to provide an ethical alternative to that. (Pictured, above: Chloe B in 'The 1970s' from The Bedroom)

SCREEN-SPACE: In terms of the production, were the actors told where the scenes had to go and what specifics you were looking for? Or did you let them dictate the action?

ANNA BROWNFIELD: The dialogue in each scene was scripted. In the 1980s sequence, (actor) Christian Vega rewrote a lot of the dialogue as it was important to him that he honour and be true to his community, which I was more than happy for him to do. Regarding the explicit scenes, the performers would discuss it together beforehand and negotiate what they would and wouldn’t do.  On set, I would sit down with them and do a basic blocking of what they wanted to do and how they would move around the space.  As it was a historical piece, I also discussed with the performers about making sure the sex depicted represented the times and who that character was and were they would be in their sexual journey. (Pictured, above: co-stars Emerald and Bandit in 'The 2010s' from The Bedroom)

SCREEN-SPACE: It's been over a two decades since your first short, Playing; over a decade since  The Money Shot closed MUFF and became the toast of the festival. How would you describe your journey, working in your chosen form of filmmaking/storytelling?


ANNA BROWNFIELD: At times it has been hard, as I have chosen to work outside of the mainstream film industry, but continue to make other films without explicit content.  My explicit films tend to do better overseas, particularly in Europe, than they do here in my home country. I often look back and think, how did I manage to make that? I work with little to no budget, so it's lots of hours unpaid and doing other jobs to make ends meet.  However, working with very small budgets, makes me inventive and resourceful and provides me with complete creative freedom. I have times where I question what and why I do what I do, but at the same time I love it and it provides me with an outlet for self-expression. That coupled with the faith that people will like what I do and enjoy it if not now, in the future.

THE BEDROOM screens at Cinekink 2017 in New York on March 17; it is available to download via Poison Apple Productions.