Search
3D 5th Wave 80s Cinema A Night of Horror Action Activism Adaptation Adelaide Film Festival Adventure Advocacy African American Age of Adaline AI albanian Alien Abduction alien covenant aliens altzheimers amazon Amitabh Bachchan Animation anime anthology Ari Gold Art Asian Cinema Australian film AV Industry Bad Robot BDSM Beach Boys Berlinale BFG Bianca Biasi Big Hero 6 Biography Biopic Blake Lively B-Movies Bollywood Breast Cancer Brian Wilson Brisbane Bruce Willis Camille Keenan Cancer candyman Cannes cannibalism Cannon Films Cesars CGI Chapman To Character Actors Charlie Hunnam Charlize Theron Chemsex China Lion Chloe Grace Moretz Chris Hemsworth Chris Pratt Christchurch christian cinema christmas Christopher Nolan Classic Cinema Close Encounters Cloverfield Comedy Coming-of-Age Conspiracy Controversy Crowd-sourced Cult Cure Dakota Johnson Dance Academy Dardennes Brothers darth vader Debut Deepika Padukone Depression Disaster Movies Disney Diversity Documentary doomsday Dr Moreau drama Dunkirk Dustin Clare Dystopic EL James eli roth Elizabeth Banks Entourage Environmental Epic Erotic Cinema Extra-terrestrial Extreme Sports faith-based Family Film Fantasy Father Daughter Feminism Fifty Shades of Grey Film Film Festival Foreign found footage French Cinema Friendship Fusion Technology Gareth Edwards Gay Cinema Ghostbusters Ghosts Golan Globus Gothic green inferno Guardians of the Galaxy Guillermo del Toro Gun Control Hacker Hailee Steinfeld Han Solo Happiness Harrison Ford Harry Dean Stanton Hasbro Haunted house Hhorror Himalaya Hitchcock Hollywood Holocaust horror Horror Film Housebound Hunger Games Idris Elba IFC Midnight IMAX In Your Eyes Independence Day Independent Indian Film Indigenous Infini

Entries in Film Festival (13)

Tuesday
Aug012017

MICHELLE CAREY ON MIFF: "I LOVE SEEING PEOPLE DISCOVER CINEMA"

2017 MELBOURNE INTERNATIONAL FILM FESTIVAL: Now in her seventh year as the Artistic Director of the Melbourne International Film Festival (MIFF), Michelle Carey has established a reputation as one of the most astute film minds in festival programming worldwide. Her 2017 MIFF programme is vast and challenging, the kind of maze-like film buff's treasure trove for which she has become known since her debut line-up in 2011. In the festival's Collins St office in the heart of the city she now calls home, the Adelaide-born Carey chatted excitedly with SCREEN-SPACE about her early festival director days, MIFF’s newest initiatives and what film made the cut in 2017 because she demanded it be so… 

SCREEN-SPACE: When you walked through the MIFF office door in 2010, to begin preparing your first festival, what were your aims and ambitions for the years ahead?

CAREY: I wanted to put a stamp on it. Back then, it was very ‘cinephile’. It still is, of course, but by 2010 it was viewed as being auteur-driven. And I wanted that celebrated, not seen as pretentious. Particularly in the last four or five years, people have been responding to new films by directors that may have once been considered fringe, like Yorgos Lanthimos. That’s not all my doing, of course, but it is great to see that shift. I also wanted bigger, more accessible films in the mix. I understood that the role could be very managerial, but I didn’t know what to expect from that side of the job. I don’t want to sound vain, but I think I’ve always had good instincts and it was learning to trust those instincts in those early days that helped. I’m a very fight-or-flight person, so I just found strength in my intuition. (Pictured, below: The Killing of The Sacred Deer, by director Yorgos Lanthimos).

SCREEN-SPACE: Were you determined to redefine what the role of Artistic Director had come to represent?

CAREY: My predecessor Richard Moore, who I worked very closely with, and James Hewison before him and I are all very different personalities. When I first came into the role, I was quite shy, having always been the person who was happier in the background. I’ve overcome that, although I certainly don’t think that my personality is bigger than the festival. The challenge is to find the balance between shaping the festival through your personality without overwhelming the programme with your ego or arrogance. I’m not doing this to showcase my taste in film; I’m doing this because I love seeing people experience and discover cinema. And audiences today often know far more than I do about films.

SCREEN-SPACE: The two masters you have to serve are right there in the name, ‘Melbourne’ and ‘International’. How do you reconcile the relationship between the two?

CAREY: There’s space for both. It is always interesting to work out whether they are similar audiences or whether they are inherently different. Our Australian films are always massively popular, but are they the same people who are going to the latest films from Cannes? I honestly don’t know. I would like to see those audiences come closer together, and I think festivals like MIFF provide that bridge. And they also provide an opportunity for discourse, via initiatives like the Critic’s Campus programme, and insight into the industry, with the 37 South Market team and the Premiere Fund and Accelerator. I deal a lot in satisfying the audience side of the festival and I’m always considering how we can bridge those worlds even further.

SCREEN-SPACE: A decade in, what legacy has been shaped by the MIFF Premiere Fund?

CAREY: Well, it’s 55 films now, so it’s a huge legacy. It has a really strong documentary tradition, through relationships forged with particular filmmakers like Eddie Martin or Richard Lowenstein, directors who are interested in local characters. Then at the other end you have some big productions, like Bran Nue Dae or this years’ opening night film Jungle (pictured, right), which is one of the biggest budgeted films we’ve ever invested in. Then you have our commitment to the more arthouse film, such as Rabbit this year. The feedback we get from filmmakers is how grateful they are for the Premiere Fund, because without it their films wouldn’t have been made.

SCREEN-SPACE: How did the retro-strand Pioneering Women, featuring works from the last great era of Australian films directed by women, come in to focus?

CAREY: It’s not really thought of as an era as such. I was looking back through the programmes in preparation for the 65th festival and was shocked to find the lack of Australian women feature film directors until 1979, when My Brilliant Career came out. In that fascinating period following its release, they started to emerge and by the mid- to late-90s there was a kind of an explosion of talent. Obviously, still not in the kind of numbers that it should be; 16% of Australian features were directed by women, which is still to low. But in that period leading up to the md-90s, there was this kind of ‘first wave’ of women talent. There were pioneers, like the McDonagh sisters that Geoffrey (Rush) references in his programme notes, but it was this generation of talent like Gillian Armstrong, Anna Kokkinos, Jane Campion and Nadia Tass that redefined the sector. Plus I have a soft spot for the 80s, which was a really fun period and you can see that in films like Starstruck (pictured, below) and The Big Steal. Celia is one of my favourite films of the festival.

SCREEN-SPACE: You’ve always embraced new technology and artistry, and do so again in 2017 with the Virtual Reality section. Does the tech suggest a seismic shift in movie watching is imminent?

CAREY: I think the jury is out. We are still in the eye of the storm with VR, especially in Australia. The films are becoming more sophisticated, going beyond just the experiential and moving into more complex narrative forms, like that seen in Miyubi. As to where it goes, it is hard to tell. The reason we entered into VR is that a lot of filmmakers are in that space. Local filmmakers such as Matthew Bate and Amiel Courtin-Wilson have artistic ambitions within the medium, more than just creating an extension of a theme park ride. That said, I think a film festival has to defend what cinema is about at its core, which is that big screen experience, the telling of stories. Whether that’s in a narrative way, or a non-narrative way, in a visual way or via the more traditional three-act structure, we have to be mindful of opening (our programme) up too much. Audio-visual media today is so pervasive you need boundaries, otherwise it risks becoming a bit meaningless.

SCREEN-SPACE: You were in Cannes for the Netflix controversy. You have programmed television content in 2017. Clearly you’re open to inviting the small screen onto MIFF’s big screens…

CAREY: When you say ‘television’, you have to also ask, “What type of television?” We’re not going to be showing Yummy Mummies any time soon. It still has to have some kind of auteur’s bent. The television we are showing – Glitch and Top of The Lake: China Girl – are great ‘big screen’ experiences, beautifully shot works. We are not turning into a television festival, that much is true, but you have to be open to it when some of the best talent in the world is working in the medium.

SCREEN-SPACE: Was there a film in 2017 that you pulled rank on, that had you banging the table and saying, “I say it’s in!”?

CAREY: (Laughs) Oh, probably Out 1, the 13 hour, 1971 French film by Jacques Rivette. I think a lot of people may have said, “Are you mad?” (laughs) It is a 16mm print, subtitled in German, that we then had to get two people to tag-team subtitle in English live in the cinema. And there have been a couple of experimental works that I’m sure made some of our staff think, “But why?” But I think those films are the sort of works that festivals need to present.

The 2017 MELBOURNE INTERNATIONAL FILM FESTIVAL screens August 3 to 20. Full session and ticketing information at the event's official website.

Photo credit: Graham Denholm

Monday
Jul172017

GLOBAL DOC SECTOR FETED AT M.D.F.F. AWARDS NIGHT 

2017 MELBOURNE DOCUMENTARY FILM FESTIVAL: Top honours at the 2nd annual Melbourne Documentary Film Festival were bestowed upon Jedd and Todd Wider’s God Knows Where I Am at an informal closing ceremony at the southern capital’s arthouse venue Cinema Nova last night. In line with the festival's objectives, winners across the award categories hailed from The USA, Russia, Norway, New Zealand, The U.K. and, of course, Australia, in what became a true celebration of international factual filmmaking... 

Narrated by actress Lori Singer, the heartbreaking reconstruction of a woman’s life after her remains are found in an abandoned New Hampshire farmhouse earned jury honours in a competitive field that also featured international festival hits Miss Kiet’s Children and The Cinema Travellers. The Best International Documentary prize was shared between Charlie Tagget-Adams’ hard rock doc Placebo Alt Russia and Richard Wyllie’s refugee crisis account Five Days on Lesvos; the Best Australian Documentary was taken out by Mat de Koning’s Meal Tickets, a decade-long account of the fortunes of his high school mates and their musical dreams. (Pictured, top: a scene from God Knows Where I Am)

The points-based scoring formula used by the festival committee to determine winners meant that ties were not uncommon, but no one begrudged multiple trophies given the quality of factual filmmaking present at the 2017 event. The Meal Tickets filmmaker shared the Best Emerging Australian Director category with Ivan Hexler for his ‘people power’ protest work Tunnel Vision (also deemed the festival’s Best Melbourne Documentary). Stephanie Clattenberg’s fiery takedown of music sector sexism, Play Your Gender, and Ben Davis’ warm-hearted look at Nordic house beat history, Northern Disco Lights (pictured, right), were both deemed Best Music/Art Documentary. 

Best Environmental Documentary honours were shared by Heather White’s Complicit, a harrowing expose of production line worker abuse in China, and Johanna B Kelly’s alternative diet study, The Gateway Bug; White also shared the International Emerging Director gong, this time with J.J. Garvine for Film Hawk. Garvine’s biography of independent cinema giant Bob Hawk afforded organisers the opportunity to award their inaugural Heroes of Cinema honour to the film industry legend, whose influence has helped forge the careers of filmmakers such as Kevin Smith, Edward Burns and Oscar-winning documentarian, Rob Epstein (The Times of harvey Milk, 1984; Common Threads: Stories from The Quilt, 1989).

   

One Heart One Spirit, director John Pritchard’s first-hand account of the meeting between Native American rights advocate Kenneth Little Hawk and Australia’s indigenous elders, won the Best Indigenous Documentary. The rather lofty honour of Best Expanded Interdisciplinary Project went to The Road Movie, Dmitrii Kalshnikov’s ground breaking social essay constructed entirely from footage captured by Russian dashcams. New Zealand factual filmmaking great Costa Botes (pictured, below) rightfully earned the Best Editing award for Act of Kindness, a moving account of one young man’s odyssey through Rwanda cut together from over 30 hours of non-pro footage.

The Festival Audience Award went to Jewel’s Catch One, director C. Fitz’s rousing disco era celebration of LA nightclub icon, Jewel Thais-Williams. The study of a musical legacy also earned Patrick Buchanan the Wildcard/Avant Garde Award for Lunar Orbit, his intimate look at ambient house music giants, The Orb.

Festival Director Lyndon Stone acknowledged both the committed talent who fronted for their screenings (amongst them New York-based Mariah Wilson, who was present to collect the International Emerging Director honour for her short Eeya) and the passionate Melbourne documentary audiences. Attendance figures showed a year-to-year rise in patronage, including several sold-out events, despite chilly evenings that saw the temperature often dip into single digits. 

Wednesday
Jun282017

DOC FEST DIRECTORS PONDER WHAT "DOCUMENTARY IS..."  

Long before the conjured cinematic world of fictional narratives emerged, there were groundbreaking filmmakers objectively capturing the true wonders of the real world. It has been over 100 years since the documentary genre was born, a period that has seen the emergence of such masters as Dziga Vertoz (Man with a Movie Camera, 1929); Leni Riefenstahl (Triumph of The Will, 1935)D.A. Pennebaker (Don't Look Back, 1967); Frederick Wiseman (Titicut Follies, 1967); Albert and David Maysles (Salesman, 1969; Gimme Shelter, 1970; Grey Gardens, 1975); Chris Marker (Sans soleil, 1983); Claude Lanzmann (Shoah, 1985); and, Errol Morris (The Thin Blue Line, 1989; The Fog of War, 2003). But what does the term ‘documentary’ mean to the modern practitioners of the factual film? SCREEN-SPACE asked eight of the filmmakers screening their latest at the 2017 Melbourne Documentary Film Festival to finish the sentence, “Documentary is…” 

DOCUMENTARY IS.… “a format to shine a light, investigate the truth, record history and celebrate amazing people and places while entertaining with style. #MakeADifference”
C. FITZ, Dir:  JEWEL CATCH ONE (pictured, above; C. Fitz, left, with Jewel Thais Williams. Photo: Michael Owen Baker, LA Times)
From the MDFF program: With 4 strikes against her (black, female, poor and a lesbian), our trailblazer, Jewel Thais-Williams, helped changed laws, save lives and influence communities across Los Angeles, California as she opened her legendary nightclub's door for 42 years.

DOCUMENTARY IS.… “a passion of mine. I love the stories, the real stories. The challenge to make a film in this genre has been one I’d aspired to for many years. I took another passion of mine, music, and decided I wanted to give it a shot. I honestly had an epiphany to make this film. I wanted to make this film.”
PATRICK BUCHANAN, Dir: LUNAR ORBIT
From the MDFF program: Lunar Orbit takes us deep into the Ultraworld of the pioneers of ambient house music. We explore The Orb's unique creative process with unprecedented studio access and delve into the story behind the music. 

DOCUMENTARY IS…. “imagining how situations will unfold then aligning yourself to capture the action.”
MAT DE KONING, Dir: MEAL TICKETS (pictured, right: Koning, left, during production in 2010).
From the MDFF program: The lives of high school band mates and their roadie who dedicate their twenties to seeking success in the music industry. From Perth to New York, Melbourne to Los Angeles we are given a back stage pass to the gigs, the tour, the conflicts and indulgences. 

DOCUMENTARY IS. “taking action. And by action I don't necessarily mean, being an activist. At some post-film discussions people call me an activist and I am quick to correct them. I consider myself more of an engaged citizen. Activist, to me, often means someone so angry (often rightly so) about an issue that I can't really have a conversation with them. So for me, documentary is taking action--but that action can be as simple as listening, asking good questions, asking dumb questions, moving in a direction to better understand something.” 
THOMAS BENA, Dir: ONE BIG HOME
From the MDFF program: On the tiny island of Martha’s Vineyard, where presidents and celebrities vacation, trophy homes threaten to destroy the islands unique character. Twelve years in the making, One Big Home follows one carpenters journey to understand the trend toward giant houses. When he feels complicit in wrecking the place he calls home, he takes off his tool belt and picks up a camera.

 

DOCUMENTARY IS…. “storytelling that can have a social impact. It can humanise an issue so people can connect, be moved and take action.”
BELINDA MASON, Dir: CONSTANCE ON THE EDGE
From the MDFF program: One family. Two wars. Three countries. What does it take to forge a new life far from home? Filmed over 10 years, Constance on The Edge is an unflinchingly honest portrayal of one refugee family’s resettlement story in Australia. 

DOCUMENTARY IS.... “an art form that gives people a voice and a chance to tell their personal truth.” 
STEPHANIE CLATTENBERG (pictured, right), Dir: PLAY YOUR GENDER
From the MDFF program: Juno Award-winning musician Kinnie Starr is on a quest to find out why only 5% of music producers are women even though many of the most bankable pop stars are female. What does it take for a woman to make it in music? 

DOCUMENTARY IS.… ”the nexus between art and social engagement in non-fiction story-telling. In recent years documentary has been re-branded by television as ‘Specialist Factual’, ‘Factual Entertainment’, ‘Docu-soap’ and ‘Reality Television’. Ratings are now the major driver for public broadcasters since the Howard government made ratings a prerequisite for government funding. And to increase ratings, the non-fiction TV doc has been restructured to make it ‘more accessible’ and easy to follow. So this is has become what most people now think of as ‘documentary’. But the great documentaries, the ones that have lasted and will continue to last, are more complex. They require real engagement from the audience. They are based on ideas and composed of open-ended explorations. And rather than relying on presenters and narrators, they explore different ways of telling a story - the language of the film.”
NICK TORRENS (pictured, left), Dir: CHINA’S 3DREAMS
From the MDFF program: China’s 3Dreams takes us deep inside the dilemmas and dreams of China’s people – without mediation from Western presenters and narrators. Featuring rare archive and extraordinary testimony from former Red Guards and Rebels, here is a powerful parable of China in the 21st century. 

DOCUMENTARY IS.... “a real story that matters today and in time becomes a record of who we were collectively.”
CLAIRE STONE, Dir: SEVEN WOMEN IN NEPAL THE BIRTH OF A SOCIAL ENTERPRISE
From the MDFF program: Seven Women in Nepal examines how one Australian created a successful social enterprise with the disabled women of Nepal and what is possible with a willingness to learn from mistakes and the right people to help.

The 2017 Melbourne Documentary Film Festival runs July 9-16. Session and ticketing information can be found at the events official website.

Monday
Jul182016

HARMONIUM: THE KOJI FUKADA INTERVIEW.

Revisiting elements of his 2010 drama Hospitality, writer-director Kôji Fukada crafted one of the 2016 Cannes Film Festival’s breakout titles with his latest, Harmonium (Fuchi ni tatsu). The chilling, slow burn pyscho-drama tells of the disintegration of a seemingly stable family unit when a visitor from a dark past settles amongst them. Cited by Variety as a work of “cinematic and intellectual rigour”, the film earned the Japanese auteur the Un Certain Regard Jury prize. In the wake of the triumphant screening, the 36 year-old director sat with SCREEN-SPACE in a sunny, manicured yard just off The Croisette to talk about his current work, which has it’s Australian premiere next month at the Melbourne International Film Festival

SCREEN-SPACE: You’re cinema is elegant, refined yet deeply affecting. Names such as Eric Rohmer and Robert Bresson have been cited as key influences. Which filmmakers have inspired your work?

Fukada: To be spoken of in the same sentence as those masters is too great an honour. My first influence was my father, as he was a huge film lover. I was exposed to international cinema from a very young age. My childhood home was filled with VHS tapes. I’ll never forget one night, when I was about 14 years of age, I watched two films back-to-back – Marcel Carne’s Chicken Feed for Little Birds and Victor Erice’s The Spirit of The Beehive. Over time, I have recognised that one of my key influences has also been Theo Angelopoulos, a master and pioneer of cinema. His social commentary and artistic achievements come from the highest cinematic level.

SCREEN-SPACE: How did Harmonium develop?

Fukada: It started with a simple synopsis that I wrote in 2006. I had difficulty getting finance for it so, in 2010, I made a film called Hospitality. It is essentially the first half of what you see in Harmonium, like a pilot version of it. It’s also about an intruder coming into the life of a family and disrupting their relationships. When our producer, Koichiro Fukushima, saw Hospitality he came on board and Harmonium began to take shape. It took us 10 years to make the film, so it is a thrill to finally present it here in Cannes. (Pictured, right: a scene from Harmonium with, from left, Kanji Furutachi, Tadanobu Asano, Mariko Tsutsui and Momone Shinokawa).

SCREEN-SPACE: Is there any aspect of your story or characters that will resonate most profoundly with Japanese audiences?

Fukada: If anything, it is the husband/father character of Toshio, a patriarchal figure who does not comfortably verbalize his emotions or communicate with the other family members. He is that traditionally conservative Japanese father figure, though I’m sure they exist in other countries as well. Something intrinsically Japanese is the role that the husband undertakes when children arrive, adopting the father role to a much greater extent that the husband role. Similarly, the wife very much becomes the ‘mother’ figure. Instead of coalescing as a unit, a ‘family’, they become individuals bound to the expectations of their new roles.

SCREEN-SPACE: Is this duality, this thematic strand that suggests even the most closely-knit unit is only as strong as the individual, indicative of your beliefs?

Fukada: It is very difficult to distinguish myself from my work. They represent how I view the world and how I view humanity. In this story, we have a community of people we call a ‘family’, the very smallest kind of human community that exists. But what I wanted to explore was how the individuals within this seemingly close community still possess an essential solitude. That represents my view on human beings. (Pictured, right; Fukada, far right, with his actors Kanji Furutachi and Mariko Tsutsui attending the 2016 Cannes Film Festival).

SCREEN-SPACE: You draw naturalistic performances from the cast. Were you able to work with them for long periods in the development of the script and in rehearsal?

Fukada: We had a short rehearsal period, perhaps 2 or 3 days, but with such a modest budget and with the time constraints that rehearsals place on actors, our planning was limited. But there were many hours of in-depth discussion with the cast, especially Kanji Furutachi, with whom I have collaborated on four projects. I don’t want my actors to just do a read-through, or be bound by their actions in a single room. I don’t feel there is a lot of value to rehearsal unless it is very near to the on-set experience, so I will prefer to rehearse on location or on a finished set. And that’s very difficult and expensive to do, to be on-set and not be filming.

SCREEN-SPACE: Are your sets collaborative environments or are you very clear with your cast as to their roles in your vision?

Fukada: I don’t want the actors to be an alter ego of me. I want them to exist as individuals who are living in the moments they create. So rather than ask of them to build a character in a particular way, be that physical or emotional, I ask them be present, with their cast mates, just as you and I are now. It is essential that they not act, but react and interact with each other. That all begins with my role as writer and director. I must ensure the actors are honest and truthful in any moment (and) that complexity has to be there in my screenplay. (Pictured, right; a scene from of Harmonium).

SCREEN-SPACE: You eschew close-ups, maintaining a very respectful distance between the actor and your lens. Why so?

Fukada: I keep the relationship between the actor and the camera very simple. My camera keeps a certain distant from the actors because being in close proximity feels as if I am trying to explain or define the intent of the scene to the audience.

SCREEN-SPACE: Looking more broadly at your homeland’s film industry, is it a happy place for independent cinema and your auteur peers?

Fukada: It is very difficult for arthouse films in Japan. We don’t have an organising body, like France’s CNC or South Korea’s KOFIC, which negotiates subsidies and provides administration for the sector. Bodies like that exist to promote diversity, which is crucial to a vibrant film sector. These organisations understand audience needs, so a genre film can be produced and marketed to a large audience at the same time that an arthouse film with specialised needs can be promoted to a niche sector and succeed. That balance allows for a very rich cinematic culture, both commercially and critically. In Japan’s economic system, it is very difficult to make such a system work; if a film does not recoup its cost, it becomes very hard for the creative people involved to survive.

Ticket and session information for Melbourne International Film Festival screenings of Harmonium can be found attheevent's official website.

Tuesday
Jul052016

REVFEST HAS HAND IN PUPPET MASTER'S LEGACY

Fans of the eclectic slate for which Perth’s annual Revelation International Film Festival has become known won’t be disappointed in 2016. West coasters can choose from the experimental non-dialogue horror of Atmo Horrox, the goat gland documentary Nuts! or the seductive sorcery of The Love Witch, to name a few. Unexpectedly (perhaps even reassuringly), peering out from the darkness will be the pointy-green grin of one of pop culture’s most endearing characters, Kermit the Frog, and the warm, gentle features of his creator, Jim Henson.

Muppets, Music & Magic is Revelations’ sidebar celebration of Henson’s remarkable contribution to showbusiness, featuring eight separate retrospective documentaries that track the development of his unique universe of characters. Also being screened are two of his visionary features, his Tolken-esque fantasy adventure The Dark Crystal (1982) and the cult classic, Labyrinth (1986). The collection is presented in conjunction with The Jim Henson Legacy, an initiative formed in 1992 to preserve and perpetuate the work and spirit of the late genius.

“It’s amazingly comprehensive,” says Revelation Festival Director, Richard Sowada, who recognised that elements of the collection spoke to his festival’s agenda. “I think it’s the deep experimentation and the clarity of vision that’s so appealing to Rev. These artefacts have meaning and purpose and ultimately make a difference to the culture and its inhabitants and they do it in such a lovely way.”

In 1955, Henson was a freshman arts-major at the University of Maryland with drive enough to negotiate a late-night TV slot for his satirical puppet concept called ‘Sam and Friends’ (pictured, right). These early years are explored in the 73-minute presentation ‘Commercials & Experiments’, which features rarely-seen works ranging from corporate training shorts to commercials to avant garde oddities, each revealing an artist exploring and defining his passion and talent.

Although his playfulness is evident in these works, the ‘Jim Henson’ that would become synonymous with children’s entertainment is only fleetingly glimpsed; the radical social change and fearless approach to artistry of the 1960s comes through in works such as Youth ’68, The Cube and his Oscar nominated short, Time Piece. Revelations has included a programme warning that some of the content is for mature audiences (below; a scene from Time Piece).

It was from these early, experimental years that the timeless, occasionally subversive comedy of Sesame Street was launched. At the time of Henson’s passing in May of 1990, then-Chairperson of the show’s producers, The Children’s Television Workshop, Joan Ganz Cooney, said of her friend, “He was our era's Charlie Chaplin, Mae West, W. C. Fields and Marx Brothers, and indeed he drew from all of them to create a new art form that influenced popular culture around the world.” The development and impact of the show is chronicled in His Sesame Street Years, a delirious celebration of Henson’s vision and the dynamic he formed with early collaborators Frank Oz, Fran Brill and Caroll Spinney, each masters of the craft in their own right.

Two clip-compilation documentaries capture the growth of Henson as a performer and the artistry with which his beloved creations were developed. In Performance captures the man honing his comic timing in rare footage of the early years when then voices and personalities of Kermit, Rowlf and The Swedish Chef were cultivated; Behind the Seams looks at the ensemble of world class puppeteers and craftspeople who fell under Henson’s spell and helped create some of the most iconic showbiz moments of all time (pictured, right; Henson in conference on-set with his leading man).

Rounding out the sidebar are two compiles screening under the Mini Rev banner and the State Library of Western Australia. Tales from Muppetland presents the Muppet players take on classic fairytales, with some timeless comedy care of the sesame Street News team thrown in for good measure; and, Muppet Musical Moments features the glorious staging that was created to accompany musical guests from The Muppet Show, including such names as Linda Ronstadt, Julie Andrews, Elton John and Liberace.

(The collection) is a great reflection of Henson’s character and personality,” says Sowada. “There’s no ulterior motive behind any of his work aside from bringing people together. That feeling transcends generations and gives his work real meaning.”

Muppets, Music & Magic: The Jm Henson Legacy screens July 9-15 as part of the 2016 Revelation Perth International Film Festival. Ticket and session details can be found on the events official website.