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Faint Echoes

“A friend had given me some old footage shot in Germany pre-WWII...during the ‘30s. Among all the images of sport, and people dancing, were images of Hitler making his early speeches. So this film is about the terrible tension of that period...jitterbugging on top of the volcano, the frentic activity to have a good life in the face of the brewing horror of Nazism. I used all kinds of techniques...travelling mattes, optical printer, rotoscoping and hand colouring, and scratching the film. The physical mutilation of the film frame, of Hitler's image...scratching out his eyes, brought fantastic relief. But I'm still not finished with Hitler, because no-one is. History never will be.” (Paul Winkler)

Faint Echoes

NR 1988
Analects of Kung Phu: Book 1, The 69 Dialogues between the Lamp and the Shadow

Reclaiming wise sayings from movies and TV shows like Drunken Master (1978) and Avatar the Last Airbender (2005–08), Analects of Kung Phu presents a moving image philosophy for surviving contemporary life. Taught by action stars but inspired by classic Chinese texts like Lao Zi’s Dao De Jing, the work questions whether these life lessons are genuinely useful. The film explores how wisdom can be oversimplified and misused, how film subtitles miss the mark or even present a completely different narrative, and how we are guided in our day-to-day life by the movies we watch.

Analects of Kung Phu: Book 1, The 69 Dialogues between the Lamp and the Shadow

NR 2021
Bondi

“One day at the beach…a typically Australian day…something I really looked forward to, when I first came here as a migrant (Bondi was the first surfing beach I’d ever seen). In the early ’60s there was hardly a weekend I didn’t go to the beach. But it wasn’t until many, many years later that I was filmically advanced enough to make a film about it. The simplicity of just turning the camera on and letting people do what they wanted to in front of the lends appealed to me…the carefree atmosphere appealed to me…the carefree atmosphere of the beach captured with the innocence of early cinema. I didn’t even look through the lens. Shooting horizontal mattes allowed me to play with the density of what was going on…the surreality of the beach, the waves of water and people, the hot and cold of sun and surf, overexposure…heat rising up, surfers riding waves in the sky and into buildings, seagulls ducking beneath the mattes, then re-appearing.” (Paul Winkler)

Bondi

NR 1979
Miracle on Everest

2006 was one of the deadliest Everest seasons on record. Experienced mountaineer Lincoln Hall was invited to join an expedition as a high altitude cameraman. It was his second attempt to summit the mountain, having turned back just short 22 years earlier. Shortly after reaching the summit, Hall began to behave irrationally, suffering from lack of oxygen. Aided by his loyal Sherpas for over 9 hours, he eventually collapsed and they declared him dead. His family were informed and the news hit headlines. But something happened that night that science cannot explain. The next morning Lincoln Hall was found alive by approaching climbers and his dramatic rescue began. Never before has a man been declared dead so high on Everest and survived. This is the remarkable true story of Lincoln Hall’s extraordinary journey back from beyond.

Miracle on Everest

3.9 2008
The Snowy: A Dream of Growing Up

The Snowy Mountains Scheme remains one of the greatest engineering feats in the world today but behind the story of engineering and construction is the story of the people who built the dream, the story of the people behind the power. An estimated 100,000 people worked on the Scheme between 1949 and 1974, the year of its completion. Two thirds of them were immigrants from over 40 countries around the world. The Snowy is a story of social, cultural and political change told through the experiences of those who worked on the scheme.

The Snowy: A Dream of Growing Up

NR N/A
Hauntation

This film uses the data of digital photographs of the site of the Brownlie Towers in Bentley, Western Australia. This data was first captured digitally via a camera on-site and then the data of those files was projected onto analogue film which was then in turn returned to the digital space via a scanner. The scanner itself became a sight for further experimentation as the film was pulled through and moved at varying speeds. Similarly the audio was created from the data of the same photos.

Hauntation

NR 2025