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Entries in Perth (5)



When the minds behind Perth’s fearless international film soiree Revelation announced that their 2019 event would take us to another dimension…well, none of us doubted they could pull it off. The festival that has pushed the creative envelope since its formation in a Perth jazz club in 1997 as a 16mm showcase has never baulked at embracing cinema’s cutting edge.

Right now, that cutting edge new dimension is the world of the virtual, immersive movie reality and Revelation will be presenting one of the most extensive programs of the latest tech that Australian audiences have ever seen. From July 6 to 14, the specialised strand XR:WA will unveil sessions of Virtual Reality and augmented visual experiences, live team VR gameplay, workshops, talks, screenings and 360 degree films. Says respected Festival Director Richard Sowada, “It is a truly innovative program structured around ideas of possibility and opportunity”. (Pictured, below; a scene from the 360 degree film, Rone)

The 22nd Revelation Perth International Film Festival will unspool in its entirety from July 4th, with the Opening Night honours falling to Scandi director Thomas Vinterberg’s true-life submarine thriller, Kursk. In its wake will be a roster of 144 films, including 18 world and international premieres and 60 Australian premieres. “Film is often said to be in crisis, that people don’t go to the movies,” says Program Director Jack Sargeant, “but this isn’t our experience. Cinema remains a living medium; our audiences, and the local film communities, serve as a testament to the power of watching film.”

One of Australia’s premiere curators, Sargeant cites a typically eclectic mix as his personal 2019 favourites – Luke Lorentzen’s riveting Mexico City-set verite-doc Midnight Family; the gripping jungle-set child-soldier thriller Monos, from Brazilian Alejandro Landes; James Newitt’s remote survivalist/existential drama I Go Further Under; the racially-charged small-town coming-of-age drama Savage Youth, from filmmaker Michael Johnson; Memory The Origins of Alien, the latest deconstructionist essay on filmmaking by Alexandre O. Phillipe (The People vs George Lucas, 2010; 78/52, 2017); and, Letters to Paul Morrissey, an anthology love letter to the longtime Andy Warhol collaborator.

In addition to his opening night choice, Richard Sowada has favoured All the Gods in the Sky, mono-monikered French director Quarxx’s unsettling mash-up of drama, horror, fantasy and sci fi; documentarian Chris Martin’s thrilling profile of renowned war correspondent Marie Colvin, Under the Wire; the Indian/Swedish co-production Tumbbad (pictured, below), hailed a folk-horror masterpiece after its Best Film win at genre fest Sitges; and, Viktor Kossokovsky’s Aquarela, a rapturous ode to the might and magnificence of the globe’s most precious resource.

The Festival Director’s other favourite is Aaron Schimberg’s stirring, unique and deeply involving film-within-a-film narrative, Chained for Life. Direct from its official placement at the London Film Festival, Schimberg’s work stars Adam Pearson as the malformed star of a B-horror pic who falls for his stunning leading lady. Pearson, a sufferer of Type 1 Neurofibromatosis, came to prominence opposite Scarlett Johansson in Jonathan Glazer’s Under the Skin (2013); the actor, an outspoken advocate for disability awareness, will be present for the Revelations screening of the film, a vision that had Variety reviewer Dennis Harvey pondering, “What if the ‘freaks’ had made Tod Browning’s Freaks?”

Other works certain to draw audiences to the myriad of Rev-venues are Don Argott and Sheena M Joyce’s Framing John DeLorean, the docu-drama re-enactment of the wild times of the American automobile titan (featuring Alec Baldwin as the entrepreneur); the rousing, crowdpleasing expose Hail Satan?, director Penny Lane’s insider’s take on The Satanic Temple movement; and, Tim Travers Hawkins’ XY Chelsea, a forthright and revealing insight into whistleblower Chelsea Manning, both as a fighter for freedom of information and as she transitions into her new self.

Also featured in 2019 is a vast selection of short films from across the globe (in addition to Australia, America and The U.K., Revelations welcomed works from Belgium, Canada, France, Mexico, Uruguay and Japan, to name just a few); a retrospective celebrating science fiction films with screenings of classics The Quiet Earth, Things To Come, The Andromeda Strain and Alien; family friendly free sessions of animated short films under the banner International Family Animation Explosion; the popular Industrial Revelations strand, featuring festival guests exploring key aspects of the industry at dedicated panels and workshops; the music video sidebar Blind Date, spotlighting works created by local filmmakers; and, Screenwest’s annual showcase of emerging W.A. filmmaking talent in Get Your Shorts On!

REVELATIONS PERTH INTERNATIONAL FILM FESTIVAL runs July 4th-17th. Full program and ticketing information can be found at official website.



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.



When Davidson Cole announced his talent in 2002 with his feature debut Design, the film world took notice. The AV Club said his leading man turn had, “…Nicolas Cage-like volatility, (making) for a compelling, put-upon hero”; Variety called his direction, “…comparable to the David Lynch of Blue Velvet”. Thirteen years later, his multi-faceted talents utilised in fields such as video game design, short documentary and experimental filmmaking and fiction writing, the LA-based auteur brings audiences Hollywood, his slightly screwy, darkly-shaded, wildly engaging sophomore effort. Ahead of the international premiere of Hollywood at the Revelation Perth International Film Festival, Cole spoke at length with SCREEN-SPACE about the passion it takes to stay committed to your vision, the origins of his latest narrative and the dark, funny love letter to film lore his new work represents…

You’ve a very eclectic film resume, from the documentary The 95th to Design and now Hollywood. Who are the artists and filmmakers that have inspired your creativity?

The movie that inspired me to make films was Raiders of the Lost Ark. I have no desire to ever make a movie like it, but the summer it was released, I must have seen it 20 times. I even knew the inflections of the dialogue by heart. This past year, my favorite film was Godard's Goodbye To Language. His work has always been a touchstone for me. Love Lynch, Altman and Cronenberg. I try to watch American Movie at least once a year, my favorite film about making movies. Sam Shepard's dialogue, especially how he navigates a monolog. Dogs inspire me too. Big fan of dogs.

Hollywood represents the type of adventurous but assured work audiences rarely get to see in this era of ‘palatable product.’ Was the determination to film Hollywood on your terms part of the reason it has been over a decade since Design, which Variety called, “a most auspicious narrative debut,” citing your “fascinatingly complex screenplay and bold direction”?

Following the Sundance premiere of Design, I planned on shooting Angels, this twisted, low sci-fi take on the after life; an ambitious project, tried for years to put it together, with actors attaching then moving on when we couldn't wrangle all the financing. It was frustrating. It can be a time-sink to remain too hopeful on a project getting financed at the expense of creating. The last couple years I've become more focused on what is possible with the resources at my disposal, shooting shorts or micro-budget features. I'm much happier with the prospect of shooting 3 to 4 films for next to nothing, than running around for 3 to 4 years trying to finance something for millions. That being said, I never stop trying to develop big ideas. Before we decided to make Hollywood we were tossing around this psycho-sexual nightmare titled Bathyal; insanely ambitious at the micro-budget level, but doable. After script reads and discussions with my producers Sam (Zuckerman) and Tom (Bailey) (pictured, above; on-set, with the director) and my cinematographer Dominique Martinez, Hollywood emerged as the film within reach, the one with the fiercest hold on my imagination at the time.

How did you pitch the look and decidedly offbeat narrative of Hollywood to potential investors?

I always make it clear to investors that I don't plan on playing it safe as a director but the discussion starts with the script. The narrative flourishes and visual style are rarely apparent for me at that stage. That develops, throughout the process, so I let the script and my past work be the pitch.

The heightened reality of Hollywood is brought to vivid life by some extraordinary characters.  How much of ‘Dave’, ‘Champagne’, ‘Brad Pitt’ and ‘Mary Elizabeth’ was on the page, and how much came alive in rehearsal and on-set?

I don't rehearse with my actors. I enjoy the danger of discovery on-set. I convey my own impressions of a character beforehand with a meeting or two, then rely on the actor to bring their own inner life, make their own choices, adjusting quickly on-set if need be. It seems counter-intuitive, on a micro-budget project, where time is so precious, but it works for me and keeps the cast and crew vibrant and focused on set, and when a moment really hits, is genuine, everyone knows it and that is contagious. (pictured, right; Michael Serrato as 'Brad Pitt', left, and William Belli as 'Champagne').

As important as the eccentric, larger-than-life cast is, the need for two central perfs that ground the film is even more crucial. Tell us about the creating the chemistry with Dana Melanie…

The role was a challenge for Dana, very different from anything else she had ever done. We knew going in Farrah was the toughest role to cast, to execute. My initial vision for the role changed to encompass the innocence Dana naturally brings to the screen, but then there is this strange fire and mischievous flicker that pops into her eyes when least expected. That combo is why we cast her. I was very proud of Dana. (pictured, below; Melanie as Farrah).

You dabble in some well-worn genre clichés – the hooker with the heart of gold; the Las Vegas gambler, in deep with The Mob; the flamboyant homosexual archetype. Yet the story beats, stylisation and drama feel fresh. Is Hollywood your take on classic B-movie lore?

The film is loaded with tropes and references, some more obvious than others, but all of them woven into the narrative with satirical intent. The big film biz is morbidly obsessed with trotting out the same clichés, the same narrative structures. Whenever someone mentions the "Hero's Journey", I get hit with a slight wave of nausea. Audiences are tired of it. As a framing device for the real narrative, I introduced overused tropes then push them into unexpected directions. Familiar territory quickly becomes unfamiliar, unsettling. It was fun finding opportunities to morph a trope then chisel it into our narrative.

Hollywood explores reconciling with one’s heritage. It is inherent to some of your other projects, too – your grandfather’s life and legacy in both The 95th and There is No Car, for example. Why do the ‘sins of the father’ hold such a thematic fascination for you?

While there are certain aspects of my relationship with my own dad in Hollywood, fearing the inability to avoid the failures of your bloodline is more reflective of my dad's experience with his father. Ultimately, as much as he tried to be different, in many ways he wound up making some of the same self-destructive decisions with his own family. It haunts him a bit, I'm sure. I think we all secretly dread the prospect of becoming just like a parent, no matter how healthy or toxic the relationship. The demons of a bloodline are difficult to shake, though.

The tech aspects are very slick – the production design; the cinematography. What was your ‘directorial mantra’ to the key creative crew?

Dominique (pictured, right; on-set) and I spent a lot of time crafting the shots beforehand. She has an amazing eye for composition and many of the most striking shots in the film were the result of her taking our initial ideas and adapting them to the confined space. I wanted long takes, wide shots, subtle moves. Let the action unfold within a single shot as often as possible, which proved a challenge to G & E and production design, since an entire room was in play most shots with the camera moving through the space. Given our limited resources and time, the skill and creative energy of the crew was vital to the visual style of the film.

From here on in, is your career geared towards being before the camera or behind the lens?

Acting for me is the loosest, most chaotic part of the process. I enjoy the physicality of acting and the immediacy of it, but I don't have much interest in pursuing a career as an actor. First and foremost, I consider myself a writer. My ideas always begin with character, with an exchange of dialogue. The narrative and visuals evolve from there. As a director, I base the visual beats of my scene off the characters - who currently has the power, whose point of view matters most at a particular moment - and move the lens accordingly.  Traditional coverage doesn't interest me. I rarely shoot a master shot. I almost never use them in post-production. If the opening beat of a scene warrants an extreme close-up, then we shoot that. If the next beat needs an uber wide to establish the tension of distance, we shoot that. No need to waste time shooting anything else, acquiring coverage. I love Werner Herzog's quote on coverage..."When you do open heart surgery you don't go for the appendix or toenails, you go straight for the beating heart".

Hollywood has its International Premiere at Revelation Perth International Film Festival on Saturday July 4, with further screenings to follow. Ticket and venue information can be found at the official website here.



With East coast film buffs re-engaging with the real world in the wake of Sydney’s 2015 festival season, moviegoers of the Western capital are just getting revved up.

Revelation, Perth’s annual international film festival event, bows its 10-day screening schedule on July 2 at the city's arthouse mecca, The Luna, with director Jeremy Sims’ Last Cab to Darwin. Starring Aussie acting great Michael Caton (pictured, above; with co-star, Ningali Lawford), the wry comedy/drama follows a terminally-ill outback cabbie as he seeks a painless, dignified final few days in the care of Jacki Weaver’s right-to-die doctor.

The challenging, hot-topic pic may not seem to be the first choice for an opening night ‘party starter’, but program director Jack Sargeant (in conjunction with festival head Richard Sowada) saw a balance of light and dark in the work that was a good fit for Revelation. “It's a movie about life and what living means. I think that we open with films that feel right, that set a mood and inspire conversation,” says Sargeant (pictured, right). “Last Cab… does that, I think. It’s a very human story.

Revelation’s reputation as a key supporter of domestic film output is evident in the three world premieres of locally produced works. They are co-directors Jenny Crabb and Susie Conte’s retro-themed celebration of Perth’s iconic live music venue, Parkerville Amphitheatre: Sets, Bugs and Rock’n’Roll; feature debutant Platon Theodoris’ Alvin’s Harmonious World of Opposites (a co-production with Indonesia); and the third feature from Stefan Popescu (founder of Sydney’s Underground Film Festival), a melding of the porn and undead genres evocatively titled Vixen Velvet’s Zombie Massacre.

Sargeant was convinced that the three warranted the coveted ‘world premiere’ status, even if the ‘why?’ of Revelation programming remains elusive. “The qualities that we look for are shifting all the time,” he says, hinting at the free-spirited, enigmatic nature synonymous with the event. “A good movie has no set criteria but when you watch it, it works. Some films may not work one year but may another year. There's a sense that the process of curating is also about the relationships between movies as well as just the movies standing alone.

The program strand Get Your Shorts On! focuses on the talents of six locally-based short-form filmmakers (including Kelrick Martin's Karroyul; pictured, right), whose works have received funding from such local entities as ScreenWest, Lotterywest and the Film & Television Institute. International mini-movies feature alongside local works from Bryn Tilly (Umbra) and David Coyle (Enfilade) in the 13-strong Experimental Showcase line-up, which welcomes works from Russia (Andre Silva’s Cybergenesis; Alexei Dimitriev’s The Shadow of Your Smile); the United Kingdom (Point and Untitled014, both from Christopher Macfarlane); and, the USA (Irina Arnaut’s Working Title; Kelly Kirshtner’s A Nice Bowl of Soup).

International features bowing on our shores include expat Australian filmmaker Kane Senes’ moody western, Echoes of War (featuring It Follows star, Maika Monroe); Rania Attieh and Daniel Garcia’s haunting sci-fi oddity, H.; Katherine Dohan and Alanna Stewarts’ left-of-centre coming-of-age feelgooder, What I Love About Concrete; the hauntingly beautiful The Creeping Garden, Tim Grabham and Jasper Sharp’s study in the properties of plasmodial slime; Belinda Sallin’s melancholy biography Dark Star: HR Giger’s Welt; and, SXSW 2014 Audience Award winner, Yakona, from Paul Collins and Anlo Sepulveda. Festival hits making their Perth debut include The Tribe, Tehran Taxi, The Duke of Burgundy, Spring and The Forbidden Room.

Perhaps certain to mess with minds more than anything else at Revelations 2015 is the Australian premiere of Asphalt Watches, a Crumb-like work of animated surrealism from Shayne Ehman and Seth Scriver. The story of Bucktooth Cloud and Skeleton Hat and their hitchhiked journey across Canada in 2000 rattled even the experienced eye of Jack Sargeant. “Asphalt Watches just made me think, 'what the hell?'” he recalls. “Its a glimpse inside some crazy nightmare/dream, a cross between something like South Park and classic underground comix. It has that sensibility that animation can be crazy and stupid and funny and do things nothing else can. I like that.

Sargeant’s encyclopaedic knowledge of and love for music is evident in his programming of Denny Tedesco’s The Wrecking Crew (pictured, right), a tribute to the largely unknown session players that created the LA sound of the 60’s; Theory of Obscurity, Don Hardy Jr’s profile of oddball San Francisco new-wavers, The Residents; Marc Eberle’s study in a country’s musical heritage and unique pop performers, Cambodian Space Project: Not Easy Rock and Roll; the genre deconstruction Industrial Music for the Urban Decay, from Travis Collins and Amelie Ravalec; Robert Nazar Arjoyan’s ethereal study of gender, race and electronic music, When My Sorrow Died: The Legend of Armen Ra and The Theremin; and, Wes Orshoski’s biopic-doco of punk trailblazers, The Damned: Don’t You Wish That We Were Dead.

The cinema of both Iran and Poland will be represented in sidebar events, as will a 10-strong shorts program suitable for family audiences. The RevCon Workshops and Panels feature Festival Patron, actor Steve Bisley (The Power of The Monologue), Last Cab to Darwin director Jeremy Sims (Building Director’s Skillsets; pictured, right) and digital pioneer Craig Deeker (Digital Filmmaking Masterclass). Launching in 2015 is the Film Festival Director’s Forum during which the likes of Sydney’s Nashen Moodley and Iranian Film Festival toppers Anne Demy-Geroe and Armin Milardi dissect festival curation. Returning will be the much-loved Revel 8 mini-fest, celebrating the 8mm film format, and Revelation Academic, the engaging gabfest that allows for voices from all corners of the industry to be heard on the most immediate issues.

I hope that with the academic strand they get the chance to think about new ideas, theoretical and cultural aspects of film, and I hope that with the workshops that they get inspired to pick up cameras and make their own works,” says Sargeant who, since he joined Sowada’s team in 2007, has helped form a unique film festival experience in Australia’s most remote capital city. “I hope that I've introduced audiences to things they'd otherwise not know about, and may otherwise never get to see on the big screen. If there's any legacy, I hope it is that people have the opportunity to see interesting work, meet filmmakers and become inspired. That would be a good legacy for Revelation.”

Full details of Revelation Perth International Film Festival can be found at the event’s official website.



Matthew Darch is well known amongst Perth’s artistic community for his passionate commitment to all things cinema. As founder of the cult classics screening initiative 1UP MicroCinema, he brings old-school film culture to the Western capital. That role bled into shared duties as programming head of the Perth Underground Film Festival, which launches its 2015 edition on February 12 at the popular Rooftop Movies venue with the latest Oz-ploitation epic, Wyrmwood. Darch (pictured, below; at his microcinema venue) spoke to SCREEN-SPACE about overcoming those 'indie festival' hurdles, infusing the schedule with his love of movies and co-programming with the enigmatic industry iconoclast, Jimmy the Exploder

Is it tough to define the balance between 'underground' and 'mainstream'? Much of what would once be considered subversive and edgy is instantly accessible and embraced.

We identified this very early in our conversations. We examined 'UFF' programs (from) around the world, finding each unique in their own way. We focussed on films that existed outside the Australian distribution channels and which you could not already download, legally or otherwise. Which made it hard, because most films these days are being released on VOD the same day they are released in cinemas in the US. Given the Federal government’s proposed anti- piracy measures, we thought (the approach) was topical. And we managed to stick to these rules with nearly all the films. I began sourcing films around the middle of 2014 and many that I approached early on were keen, but subsequently were picked up by Oz distributors. But that's the programming game.

Paint a picture of the Perth audience for 'underground' cinema. Did you program for both the hardcore anti-establish types and a broader crowd who might occasionally try edgier stuff?

We were very lucky to be accepted into the Fringe World program, a fantastic time when the inner city comes alive with people from all sorts of backgrounds. Having run my own 20 seat ‘micro cinema’ for a few years, I knew what sort of prices film makers expected for screenings and knew that to recoup our costs we would need a 100-seat venue, minimum. So to have this venue, combined with the in-kind promotional deals that Fringe World offered, we were very happy. Rooftop Movies (pictured, right) traditionally play late-release theatrical films and 'cult classics' like Donnie Darko, Napolean Dynamite, Ghostbusters, Kubrick, and so on. So, yes, we did have a broader audience in mind who might appreciate the opportunity to see some edgier stuff. In that regard, we hope PUFF compliments Perth's really only independent film festival, Revelations. Monster Pictures have also done a great job over the last few years bringing a MonsterFest leg to Perth. They snap up a lot of the horror festival favourites, so we might have to let them run point on that genre.

What earned Kiah and Tristan Roache-Turner's Wyrmwood (pictured, left) the Opening Night slot?

We’re very happy to have an Australian film for our opening night, particularly one that has received such rave reviews. I'm sure the screenings they have lined up around Australia will get a great response. Isn't it every filmmaker’s goal to make enough money from a film so they can fund their next one? Can't wait to see what the brothers come up with next.

Tell me about working with the enigmatic Jimmy the Exploder. How much of PUFF is an extension of his profile and personality?

Jimmy is great to work with, as is the third member of the team, Tiff Flynn. Between us we all bring different skills to the table. Our group dynamic has really made this venture smooth sailing. PUFF isn't necessarily an extension of Jimmy's personality; he is happy to keep a low profile and work hard behind the scenes. Our shared goal is to make this festival sustainable for the future. We received no grant funding or monetary sponsorship deals this time around. If we need these in the future, then we might have to talk up both mine and Jimmy's previous track records to seal any deals.

The programme suggests that eccentric, vivid central characters are important to you - Ray in Suburban Gothic; George Romero in Doc of the Dead; the dual leads in Foxy Merkins (pictured, below); Scott in Zero Charisma. How do the films and these characters serve the aims you had for PUFF 2015?

I have never thought about the films in that way. I worry that I miss picking up on things like that. I program based around what additional elements I can add to make it an event. I want to give people value for money, unlike the multiplex experience, where you sit down, watch and then leave. We want the patrons to interact. That's why most of our screenings have additional elements; a game of Film Maker Feud before Zero Charisma plus each audience member will get a Dungeons & Dragons character sheet created by a local Perth artist. We have a Valentine’s Day Perfect Match-Making Service before Suburban Gothic. We have teamed up with Pilerats and DJ Holiday Pete to provide music and atmosphere at our double-bills and we will have character actors at most screenings in the rooftop elevator. I also like to program around different subcultures, who can identify with the films. Each film in this program will appeal to different cohorts, I guess. The trick will be, will they overlap and step out of their comfort zones?

The Perth Underground Film Festival runs February 12 to 21. Full programme and tickets are available via the official website.

Read SCREEN-SPACE's review of PUFF 2015 Opening Night film, Wyrmwood, here.

Read SCREEN-SPACE's review of PUFF 2015 Closing Night film, Beyond Clueless, here.

Read SCREEN-SPACE's interview with Beyond Clueless director Charlie Lyne here.