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The Coolbaroo Club

Documentary about "The Coolbaroo Club",  which was the only Aboriginal-run dance club in a city which practiced unofficial apartheid. During its lifetime, the Club attracted Black musicians and celebrities from all over Australia and occasionally from overseas. Although best-remembered for the hugely popular Coolbaroo dances attended by hundreds of Aborigines and their white supporters, the "Coolbaroo League", founded by Club members, ran a newspaper and became an effective political organization, speaking out on issues of the day affecting Aboriginal people.

The Coolbaroo Club

NR 1996
Green Canopy

“Somewhere I read a headline ‘One million trees will be chopped down’ and I was absolutely horrified. My association with the Bush goes back a long time, and thinking that one day it might not be there tied my stomach in knots. I felt physically sick...like seasick...really off. Images were fermenting in my head, but I couldn’t see how to film what I was feeling. How do you film a blinding headache? A churning premonition? I tried shooting toothpaste glasses, filters, but nothing worked...until I found a way of doing it where I had these household glasses spinning at very fast speed in front of the lens. I didn’t want the film to be didactic, like Scars...more a veiled and brooding warning about impending loss.” (Paul Winkler)

Green Canopy

NR 1994
Careless

When director Sue Thomson’s 89-year-old mum, Margaret, begins to need additional help with day-to-day life, they face a decision that most families will encounter: whether to consider a residential aged-care facility; and, if so, how to find a suitable one amid a sector with a reputation for neglect and mistreatment. Margaret’s story becomes a springboard for an investigation of the political history of aged care in Australia, marred by a 40-year bipartisan privatisation agenda. As we hear from advocates, journalists and senior citizens who have experienced the system, a group of schoolkids discuss the situation we’ve reached with aged care and where we need to go from here – and of what they, and we, can expect in the future.

Careless

NR 2025
Scars

“The destruction of trees in Sydney...chainsaws, the trees really screaming out. Rapid zooming, often close up shooting. In Edgecliff and Paddington, near where I lived, I'd travel around with the council workers as they lopped established trees, made way for progress...power lines, new buildings. On the Cahill Expressway, across from the Art Gallery of New South Wales, huge old Moreton Bay Figs were being butchered. As they were ripping and cutting into the trees, I was ripping into them…very physically, rapid zooming. I wanted a very strong message. It was way over the top, really…screeching chainsaws and woodchip machines. There was no real Green Movement in those days. When I showed the film, people came up to me and said I’d made them feel guilty for lopping down trees in their own yard. The aggression of the film still causes people trouble.” (Paul Winkler)

Scars

NR 1971
Text Messages from the Universe

A film that immerses its audience in subjective states of consciousness they might experience when they die, imagining what they can see and think and hear in a seamless but fragmentary flow of poetic images, words and music. The viewer undertakes a journey into their own interior world of dreams and projections in which time and space, and cause and effect logic, are turned on their heads. Text Messages from the Universe is inspired by The Tibetan Book of the Dead, a text which guides souls on their journey of 49 days through the 'Bardo', or intermediate state, between dying and rebirth.

Text Messages from the Universe

6.0 2019
Home Movie – A Day in the Bush

A film of repeated movements toward the camera, away from the camera, and across the camera's field, punctuated by a 360-degree rotational movement of the camera itself. Aside from being a reference to the repetition characteristic of home movies, the film is an exploration of a specific space. By repeatedly traversing it, the two figures reinforce their sense of depth, beginning as distant blobs in the long shot and ending with the face of one of them filling the frame. Repetition has become an important strategy in many of our recent films, which often involve reshoots or reprints. (Arthur Cantrill & Corinne Cantrill)

Home Movie – A Day in the Bush

5.0 1969
Red & Green

“By this time we had a Filmmakers' Cinema here in Sydney. I made the film on the spur of the moment...to go over a band. Red and green leader was very cheap—you got it for a cent a foot or something. Scratching and 'injuring' the flat colour of the leader . . . I interspliced it with old 16mm footage, breaking up and creating tension between the shots...you know, a native in Papua New Guinea was shooting an arrow, and just as the arrow leaves, the film cuts back into red and green 'travelling' lines (the scratching on the leader). For quite some time this line is running, then the next minute it stops and you see the arrow actually hitting a target. So it gives the impression the arrow is travelling for a long time, on red leader toward the target. The film was shown with different bands, and each time the film looked different.” (Paul Winkler)

Red & Green

NR 1968