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Entries in Science Fiction (2)



Such otherworldly phenomena as trans-dimensional portals, parallel planes of existence and dystopian future realms are the least one should expect from an event like SciFi Film Festival, which launches its 5th season on October 11 in Sydney. That such potent narrative elements are tackled in the Opening Night film alone suggests festival director Tom Papas has crafted a five-day event of immensely ambitious genre programming.

The 12-session celebration of global science fiction filmmaking launches with the Australian premiere of The Gateway, fresh from a triumphant Revolution Film Festival showing in Austin, Texas, where it nabbed four trophies, including Best Picture and Best Director for John V. Soto (Needle, 2010; The Reckoning, 2014). Genre favourite Jacqueline McKenzie (Deep Blue Sea, 1999; The 4400, 2004-07; pictured, above) gives a star turn as particle physicist Jane Chandler, whose grief at losing her husband Matt (Myles Pollard) blinds her to the dangers of blurring multiple realities.

The Gateway welcomes in nine new international features, including works from North America, The U.K. and Europe. Guy-Roger Duvert directs the U.S./French co-production Virtual Revolution, a near-future thriller in which society functions entirely online and cyber-terrorism has become the ultimate threat; director Andy Mitton’s We Go On stars Clark Freeman as a man so terrified that his existence is meaningless he offers a fortune for proof of an afterlife, only to have the truth reveal a terrifying secret; and, from British director Matt Mitchell, a wildly imaginative supernatural period piece called The Rizen (pictured, right), that takes as its starting point the Allied Forces post-WWII experiments in the power of black magic.

U.S. director Terrance M. Young will be present for a QA session following the Saturday 14th screening of his dramatic thriller, Project Eden: Vol. 1 (a sequel is already slated for a 2018 shoot). Michael O’Shea’s urban vampire shocker, The Transfiguration (read the SCREEN-SPACE interview with the director here) screens following its breakout hit status at the 2016 Cannes Film Festival. The U.K. sector rounds out the 2017 festival slate - Hendrik Faller’s grueling alpine siege thriller, Mountain Fever (a co-production with France); Keir Burrow’s noirish sci-fi spin on the Alice in Wonderland story, called Anti Matter; and, earning Closing Night honours, Roger Armstrong’s blackly funny Sublimate, a found-footage/mockumentary spin on misguided ambition and blind obsession involving the transcendence of the human soul via aural experimentation.

A short film will precede each feature, a traditional programming policy that acknowledges that many of the most ambitious science-fiction works currently produced are from directors working in short form narratives. On October 12, a full slate of international short films will showcase the film sectors of Japan (Yoshimi Itazu’s Pigtails; Philippe McKie’s Breaker); France (J.L. Wolfenstein’s Departure); Finland (Juha Fiilin’s Job Interview); The U.S.A. (Miguel Ortega’s The Nungyo); Germany (Alexander Dannhauser’s Kaska); and, of course, Australia, which is represented by five cutting-edge visions - Scott Geersen’s Signal/Void; Samuel Lucas Allen’s Only the Beautiful; Sarah Rackemann’s One Small Step (pictured, right); Radheya Jegatheva’s Journey; and, Evan Hughes’ Hell of a Day.

The SciFi Film Festival is also honouring two classics of the genre with retrospective screening events. Starring the late Harry Dean Stanton opposite punk brat Emilio Estevez, Alex Cox’s Repo Man remains one of cinema’s most idiosyncratic visions; it returns to the screen on October 12 amidst a wave of nostalgia, both for Stanton’s body of work and the free-form inventiveness of the best of 80s movie culture. Then, on October 13, the 4k digitally restored 40th anniversary edition of Nicholas Roeg’s existential sci-fi masterpiece The Man Who Fell to Earth, starring David Bowie, will screen. Both films speak to the core values of the festival, which has always sought out auteristic works characterised by thoughtful, humanistic protagonists and ambitious scope.

THE SCIFI FILM FESTIVAL screens October 11-15 at the Event Cinemas George Street complex. Full session and ticketing information can be found at the festival’s official website.

SCREEN-SPACE editor Simon Foster will host Q&A events with The Gateway director John V. Soto (October 11) and Project Eden: Vol. 1 director Terrance M. Young (October 14).



The first thing that strikes you about Josh Tanner is that he certainly looks like the current crop of young directors ruling the film world. Resembling a genetic level mash-up of JJ Abrams, Joss Wheedon and Wes Anderson, the Brisbane-based 26-year-old is also displaying the artistry and genre savvy of his doppelgangers; his fourth short film, The Landing, has spent the last 8 months sweeping award after award on the global festival circuit (most recently, the Best International Live Action Short at the prestigious Fantaspoa event). Ahead of his films sessions at Revelation 2014, Tanner spoke to SCREEN-SPACE about its origins, the filmmakers that inspire him and the complex production elements required to realise his unique vision... 

The Landing looks to be crafted by a filmmaker who imagined in detail each frame before stepping behind the camera. What were the narrative's origin?

As clichéd as it sounds, the concept of the film came out of a dream. I was in the middle of a barren field, painfully digging though dirt with my bare hands, eventually unearthing what appeared to be a buried spacecraft. A concept emerged involving the suppression of a UFO landing, not by the usual “government types”, but by the normal people that bear witness to it. This intriguing kernel unravelled into a story that my co-writer and producer Jade van der Lei and I got really excited about. The idea of delving into the cold-war 1950/60s era, which was a golden age of Science Fiction, was also an awfully exciting prospect. (Tanner, on set; pictured, right)

The pov the film shares with the boy can easily by classified as 'Spielbergian', but there are many other reference points. Who are the filmmakers and what are the films that inspire you and influenced The Landing?

There is an awful lot of Terrance Malick influence in there. Days of Heaven was a huge inspiration on visual style and location. Also Tree Of Life, (which provided) a structural and thematic point of view when it came to relationships with our parents and our connection to the past. There was definitely part of me that wondered what a Terrance Malick Sci-Fi film would look like, and hopefully we’ve achieved 1% of what that hypothetical film might be. I’d also be lying if I didn’t say that Spielberg’s Close Encounters of the Third Kind and ET as well as Kubrick’s 2001 weren’t also major influences on the film.

It is a film that shifts seamlessly between styles and genres; it is a memory piece, a political work, a domestic drama, a sci-fi vision. What themes and arcs most clearly define your directorial intent?

It sounds like a pun, but alienation really is the central theme of the film, and permeates the films relationships and broader concepts. It’s the alienation between a boy (Tom Usher; pictured, top) and his father (Henry Nixon; pictured, left), their ideologies, their innocence and maturity, and their past and present. The crash-landing of this visitor brings them both a dark but alluring adventure, and the potential fulfilment of their own personal obsessions, which ultimately stand only to distract them from their alienation from each other. But it is though this very encounter, that the characters are forced to come face to face with these obsessions, and make life-altering decisions for better, or worse.

Securing the likes of leading man David Roberts (The Square; Getting' Square) and behind-the-scenes contributors such as production designer Chris Cox (Acolytes; At World's End) and composer Guy Gross must have been significant moments. How did the pre-production progress?

We were so fortunate to work with an army of incredibly talented and creative artists. We were faced with the challenge of trying to make an Australian short film masquerade as a Hollywood feature in terms of aesthetic. Setting the film in rural America in the early 60’s was something concrete and necessary on a story level, so it was about relying on our dedicated team to figure out how we’d do that. The thing that crystallised everything was the discovery of 'the Barn' location (pictured, right), which is actually an abandoned set, originally built in Tamworth for Bryan Singer’s Superman Returns. This kind of Midwest American architecture does not exist in this country, so it became a real inspiration to our team to strive to make everything as authentic to the period and geography of the story as that barn was.

With all those elements in place, how did the shoot itself come together?

The shoot was a Frankenstein process, building sets, travelling out to barren farmland, and wheat fields and stitching it all together with the help of an expert team of visual effects artists. (They) deserve a great deal of recognition because while the films production design, cinematography (Tanner with DOP Jason Hargreaves, on set; pictured, left), score and sound design are all obvious in their merits, the visual effects are those of an almost thankless kind. Meaning they’re effects that you’re not supposed to believe are effects. The greatest lesson I learned as a director has been to remain faithful to the scale of your vision, and stick to your guns without being unreasonable. There were many times when funding bodies, or industry associates recommended that we change the films setting to Australia. Despite feeling the odds were heavily stacked against us, we were always resilient enough to look at the script and remind ourselves that it was worth the struggle to forge ahead in the way we believed was right for the story. 

And now The Landing is securing festival slots and winning awards around the world. How are you responding to the acclaim and the film's momentum?

The success of The Landing on the festival circuit has opened some fantastic career doorways for Jade and I. We are currently developing the longform expansion of the short film and a supernatural-thriller feature. But while we have definitely enjoyed this exposure to industry avenues, it is finding a receptive audience to enjoy your work that is the real prize of filmmaking. We honesty will never get bored of experiencing the audiences reactions to the twists and turns of the story. When you write something with the hope that an audience will feel a certain emotion, to see it happen on the other end is what it’s all about for us - that sharing of ideas and emotion.

THE LANDING screens at the Revelation Perth International Film Festival as part of the Slipstream Quartet sidebar. Further information and tickets can be found here.