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Entries in Melbourne (11)

Friday
Jun152018

SWAGGER OF THIEVES: THE JULIAN BOSHIER INTERVIEW

As portrayed in Julian Boshier’s hard-rock doc Swagger of Thieves, life within New Zealand’s legendary metal band Head Like A Hole…well, it hasn’t been easy. One of the country’s most respected music video makers and documentary cameramen, Boshier has spent a fair share of the last 25 years close to band members Nigel ‘Booga’ Beazley and Nigel Regan. Their time in each other’s company has provided Boshier with unprecedented access to some of the most remarkable footage ever filmed of the wild rock ‘n’ roll lifestyle; Swagger of Thieves runs the gamut from ‘young, self-destructive artists in their prime’ to ‘dads and husbands determined to keep their dream alive’. Ahead of his films’ screening at the Melbourne Documentary Film Festival, Boshier spoke with SCREEN-SPACE about the men, the band and his destined-for-cult-status film…

SCREEN-SPACE: In presenting a personal portrait of the lads, what aspect of them as artists and as men had to be conveyed? What was the truth you wanted to tell?

BOSHIER: A documentary should take the audience to a place that they don’t usually have access to. A lot of people love the idea of getting close to a band, of experiencing a tour, or being backstage. So I wanted to get the audience into those normally restricted places, exposing the rehearsal space, the bickering, the tension and the feeling of what it is like being in or around Head Like a Hole. I didn’t really set out to expose the deep inner workings of these guys; how much they were going to reveal [of] themselves on camera was up to them. As time went on the layers revealed themselves and some semblance of them and their truth was laid out. My intention was to present a portrait of them, that they had presented to me. I do feel that they presented the truth, or at least their version of the truth.

SCREEN-SPACE: What is so unique about this band? Why does this documentary tell a different story to other heavy music rock docs?

BOSHIER (picture, right): My relationship with the band allowed me a level of access and intimacy that maybe other music documentary makers have not obtained. This band is not that unique in what they have achieved, but as characters or people, they do possess very unique attributes. This is a mix of dysfunction, unprofessionalism, fractious relationships, incredible humour, toughness, vulnerability. I wanted to approach this project in a different way to your average band profile documentary.  I wanted it to be about people and people living their lives; the backdrop was the band. This approach is why the end result is probably quite different to other rock documentaries.

SCREEN-SPACE: You’ve been around a lot of musicians whose careers have ebbed and flowed, but who push on. What are the character traits – good or bad - that are constant in all these music industry veterans?

BOSHIER: Actually quite a few of the bands I have made music videos for have split. The only two bands that have survived are Head Like a Hole and Shihad. Their paths have run a different course from one another, but both bands have lasted twenty-five odd years and both continue to this day. Head Like a Hole are certainly not the darlings of the New Zealand music industry and they do personally struggle at times to continue with their art, financially and otherwise. But their motivation seems to continue; their quest to produce a great new song, or a great performance continues. I guess that motivation comes from the music itself, the power of creating. All members of Head Like a Hole have flexible full-time jobs, and with that flexibility it allows them to take time out to reverse, record and tour. They operate in bite size chunks and that allows them to continue. (Pictured, above; from left, Nigel 'Booga' Beazley and Nigel Regan)

SCREEN-SPACE: Drug addiction all but destroyed the band; the scenes in which the much younger men shoot up are tough to watch. Was it ever considered a step-too-far including the footage? Why did it have to be in there?

BOSHIER: When I first suggested the idea of a film to Head Like a Hole, we all agreed immediately the approach had to be warts and all. Nigel Regan describes it as being ‘one big wart’. There was no other way to make this film; it couldn’t be dulled down or censored. It had to be a true representation or what was the point. Head Like a Hole have a reputation in New Zealand as a wild bunch, as ‘outlandish outlaws’. So it was important to the integrity of the story that needles were a part of it, as they have been a part of their lifestyle. The audience would have been expecting this type of footage, as their habits are common knowledge. The film would have had a glaring omission without the needle content. (Pictured, above; Boshier, centre, with band members)

SCREEN-SPACE: How did your feelings for these guys and your experience being part, however small, of their history influence how you told their story?

BOSHIER: Knowing these guys for a long time, I felt a huge responsibility undertaking this project. I had to be accountable to the band, to their music, their fans, their families, the movie-going public and to myself. New Zealand does not have many bands or musicians that are worthy or that can offer the myriad of ingredients that go into making a film, so this was something that I could not screw-up. But I have always trusted my own instincts, tastes and atheistic. I’ve always kept a professional distance from these guys and that continued during the filming; the band didn’t quite know what I was doing, and neither did I, but I backed myself. I suppose I took the cut to the edge, allowed no mercy. But this film is about a unique band; they deserved no mercy, and that’s the beauty of it. It’s true and real. (Pictured, above; Head Like a Hole frontman Nigel 'Booga' Beazley)

SCREEN-SPACE: How are the band’s fans reacting to the revelations in the film?

BOSHIER: The reaction in New Zealand has been quite incredible. Both the media and the public have been entertained, shocked and enlightened by this film that has come out of left field. It has drawn quite a broad audience, [which says] to me that I had not wasted many years and a huge amount of money making it. This film deals with friendship, addiction, personal demons, struggle but also the brighter side of life – love, music, fun and laughter. International audiences will have no preconceived notions about this band or film, so it could be a surprising discovery for them. This film is genuinely funny and entertaining; it [comes from] a darkness but also [has] a positivity that I hope international audiences can relate to.

SWAGGER OF THIEVES will screen at the Melbourne Documentary Film Festival on July 14. Full ticketing and venue information can be found at the official event website.

Swagger of Thieves Trailer from Trench Film on Vimeo.

Thursday
Jun072018

PREVIEW: 2018 MELBOURNE DOCUMENTARY FILM FESTIVAL

The celebration of a passionate man dedicated to a life in the service of cinema seems entirely appropriate as the Opening Night offering at the 2018 Melbourne Documentary Film Festival. The eclectic 9-day programme of long- and short-form factual films have been collated by a devoted curation team under founder and festival boss Lyndon Stone, whose time and energy in bringing the latest from the documentary field to Victorian audiences will be rewarded when the latest incarnation launches July 6.

First night honours go to Filmworker, director Tony Zierra’s profile of the enigmatic Leon Vitali, the bohemian Brit who chose to forego a career in front of the camera and dedicate his life to being right hand man and ultimately gaurdian for the great Stanley Kubrick. Offering profound insight into a man so drawn into the maddening genius of Kubrick’s vision that he altered his own destiny to serve the director, Filmworker has been embraced by critics (“A brisk, compelling movie that’s pure candy for Kubrick buffs,” said Variety) and promises to energise audiences.

Zierra’s crowdpleaser will screen under the banner ‘Film Buff’ with two films that also address that heady mix of destiny and talent – Anjelica Huston on James Joyce: A Shout on The Street, the actress’ recollections of the author’s career (Huston, pictured, right, starred for her father John in the Joyce adaptation, The Dead); and I am Famous, a melancholy look at the post-Back to The Future life of Thomas Wilson, aka trilogy bully Biff Tannen.

The 2018 program reflects the vast field of vision that documentaries afford the conscientious moviegoer. Over 60 films will screen, including two world premieres and ten Australian premieres, across six venues. In addition to ‘Film Buff’, there will be twelve themed strands (including two dedicated short-film and Melbourne-centric sessions). These include such banners as ‘Australian Art’ (which includes Black Anzac, director Tim Anastasi’s coverage of the creation of a mural by artist Hego depicting an Aboriginal WW1 soldier); ‘Geopolitics’ (featuring Timothy George Kelly’s EU-exit takedown, Brexitannia); ‘Social Justice’ (read our review for Dawn Mikkelson’s Risking Light here); ‘Animal/Environmental’ (with one for the musophobics from Chris Metzler called Rodents of Unusual Size); and, 'EDM Docs' (with Glen J. Scrymgour’s dance-party culture-clash study, Decks and The City).

Closing out the event will be the ‘Rock Docs’ strand, a collection of three films geared towards building momentum heading into the after-party. New Zealand filmmaker Julian Boshier will be in attendance to front the screening of his feature Swagger of Thieves, a behind-the-scenes account of struggling bandmates determined to overcome their own shortcomings and find a successful music sector niche. It will screen with Adam Farks’ The Music Stops Here, which addresses how gentrification and over-development can kill off musical culture; and, Samantha Holder and Nathan Richman’s Turn It Up!, a then-and-now study of the Sydney live music.

In addition to Boshier, several filmmakers will brave the chilly Southern capital in support of their works, with masterclasses and Q&A panels on the agenda. Those attending include Jackie Ochs, whose exposé Out of My Head reveals the shocking facts behind that crippling modern ailment, the migraine; Thor Neureiter, whose investigative piece Disaster Capitalism uncovers profiteering practices in the global aid network; and local lads David Elliott-Jones and Lachlan McLeod (pictured, right), the minds behind the wildly entertaining ‘viral fame’ experiment, Big in Japan.

Also scheduled is a presentation by people-powered exhibition outfit FanForce on the benefits and processes on self-distribution, an increasingly potent avenue by which documentarians can get their films seen by a broader audiences. 

2018 MELBOURNE DOCUMENTARY FILM FESTIVAL runs July 6-14 at verious venues across the city. For ticket sales and session details, visit the official website.

SCREEN-SPACE is a media partner of the Melbourne Documentary Film Festival. Editor Simon Foster will be hosting Q&A events throughout the festival as a guest of the organisers.

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.