OUR DEFINITIVE DOZEN FROM SWIFF 2021

It has become Australia's most in-demand destination festival. In the coastal paradise of Coffs Harbour, Screenwave International Film Festival (SWIFF, as it has become affectionately known) is a showcase of the planet's greatest cinema, but also a cultural event that is part of what defines its hometown. In 2021, co-directors Dave Horsley and Kate Howat up the ante again - acting great Jack Thompson has been announced as festival patron; mentors, technicians and industry insiders will guide fresh minds through the inaugural SWIFF Create initiative; and, executive chefs Richie Dolan and Carla Jones prepare a degustation menu celebrating food and wine from the region. All this before you even get to the film program!

SCREEN-SPACE Managing Editor Simon Foster will be present again when the 2021 event kicks off April 14, broadcasting his podcast Screen Watching from the festival and co-hosting the Sci-Fi Trivia Night. He'll also be watching a lot of films; here's his list of 12 must-see SWIFF sessions. All ticketing and session details can be found at the festival's official website...

A BOY CALLED SAILBOAT: In Cameron Nugent’s magical-realism masterpiece, soulful innocence and communal humanity combine with soaring potency. A little boy with a ukulele and love for his grandma can transform the world, the implication being we all can if we just believe we can. The perfect post-2020 movie. Soundtrack to be performed live The Grigoryan Brothers. 

ALIENS: James Cameron’s perfect sequel (perhaps the best ever?) remains a riveting, raucous celebration of speculative cinema - a lean, mean exercise in myth-building and world-crafting, in which macho, militaristic posturing is countered by themes of maternal love and female empowerment. With acid-seeping aliens, to boot! (Pictured, right: Sigourney Weaver and Michael Biehn in Aliens)   

COLLECTIVE: The Romanian health care sector harbours corruption, greed and tragedy; organised crime and political heavies are profiteering, while patients die. Director Alexander Nanau’s insider account of the journalists fighting to expose and dismantle their country’s systemic avarice is thrilling, inspiring and terrifying; ranks alongside All the President’s Men and The Post as one of the great films about the power of the press.

THE PAINTED BIRD: A young Jewish boy’s odyssey of horror through Eastern Europe’s combat-ravaged landscape makes for a WWII story of merciless heartbreak. Recalling the hell-on-earth nihilism of Elem Klimov’s 1985 Russian masterpiece Come and See, Václav Marhoul’s shattering monochromatic nightmare is the festival’s bravest programming choice, the kind of film that reinforces SWIFF is a truly global film celebration.  

DAVID BYRNE’S AMERICAN UTOPIA: In 1984, David Byrne fronted arguably the greatest concert film ever made in Stop Making Sense. Thirty-seven years later, he delivers another one. Directed by Spike Lee, American Utopia - a filmed-version of Byrne’s hit Broadway concert series - is as purely joyful, soul-enriching, thought-provoking American performance art as has ever been created. 

JUMBO: It’s called objectophilia, the sexual attraction to and emotional connection with an inanimate object. Noémie Merlant, star of one of the great cinematic romances, 2019’s Portrait of a Lady on Fire, this time focuses her passion towards ‘Jumbo’, the latest crowd-pleasing attraction at the local amusement park. I kid you not, this is the most unlikely and wonderful love story of the year.

LITTLE GIRL: Bring Tissues #1 - Sébastien Lifshitz captures a life both coming into focus and transitioning in Little Girl, the story of Sasha, an eight year-old assigned male at birth who wants to live as a girl. She possesses a soaring spirit, a strength of character that is called upon in the face of social intolerance and institutional bias. Documentary filmmaking at its finest

STRAY: Bring Tissues #2 - A study in displacement as seen from the perspective of three homeless dogs living on the streets and in the abandoned buildings of a Turkish metropolis. Elizabeth Lo’s flea-on-the-wall camera provides a glimpse into lives seeking companionship, acceptance and basic needs; the smallest moment of kindness carries with it immense change.

BREAKER MORANT: With apologies to Mad Max 2, Starstruck and Don’s Party (another Beresford joint), my favourite Australian film of all time is Breaker Morant. In telling the story of our nation’s most famous scapegoat, Bruce Beresford forges one of the great anti-war films, filled with iconic moments (“Rule 303!”), extraordinary craftsmanship and career-defining performances. (Pictured, right; l-r, Lewis Fitzgerald, Bryan Brown, Edward Woodward and Jack Thompson in Breaker Morant)     

THE TROUBLE WITH BEING BORN: As we hurtle towards a technological singularity - a world in which robotics and humankind share a consciousness - what responsibilities do we, the ‘creators’, have to the sentient ‘beings’ we have made in our own image? Director Sandra Wollner poses this question in her stark, often shocking, deeply complex near-future sci-fi drama. The best debut feature of 2020.      

MEANDER: Challenge your latent claustrophobia with Mathieu Turi’s white-knuckler, in which a young woman (Gaia Weiss, from TV’s Vikings) must navigate booby-trapped tunnels to discover why and how she ended up in this predicament. A little bit ‘Saw’, a little bit ‘Cube’, but so drenched in its own unique style and narrative flourishes it stands on its own merits.

WHITE RIOT: London, late 1970s. Ultra-right racist Martin Webster’s National Front party, spouting Nazi rhetoric and backed by some high-profile music industry types (um...f*** you, Eric Clapton), is polluting the minds of U.K. youth. To fight this scourge, a small group of anti-fascist activists create Rock Against Racism, and a counter-movement is born. Rubika Shah’s inspiring account of the rise of goodness amidst a nation’s ugliest era is enraging, enlightening and ultimately, exhilarating.

IFFR 50 GOES GLOBAL WITH 2021 AWARDS ROSTER

The 2021 International Film Festival Rotterdam (IFFR) has spread the awards love far and wide for its expanded 50th anniversary edition, with trophies going to auteurs from India, Kosovo, Bosnia, Argentina, Thailand, Norway, The Ivory Coast and America, to name just a few.

Debutant director Vinothraj P.S’s southern India-set Pebbles (pictured, above) won the top honour, the 2021 Tiger Award. In a series of prepared statements, the Jury collective provided valuable insight into their decisions. Tiger jurists Lemohang Jeremiah Mosese, Orwa Nyrabia, Hala Elkoussy, Helena van der Meulen and Ilse Hughan said of Vinothraj’s work; “Creating a maximum impact with a minimum in means, the filmmaker reaches his goal with the same conviction and determination as his main characters,” adding the film is, “A lesson in pure cinema, captivating us with its beauty and humour, in spite of its grim subject.”

I Comete – A Corsican Summer (pictured, right) by French filmmaker Pascal Tagnati and Looking for Venera by Norika Sefa from Kosovo both won Special Jury Awards. The BankGiro Loterij Audience Award went to Quo Vadis, Aida? by Bosnian filmmaker Jasmila Žbanić. The FIPRESCI Prize was given to The Edge of Daybreak by Thai filmmaker Taiki Sakpisit. Norwegian director Ane Hjort Guttu won the KNF prize for her short film Manifesto. La nuit des rois by Philippe Lacôte from Côte d’Ivoire won the Youth Jury Award. 

The VPRO Big Screen Award went to Argentinian Ana Katz’s El perro que no calla (The Dog Who Wouldn’t Be Quiet). VPRO Big Screen jury members Mauro Corstiaans, Oriana Baloriano, Frits Bienfait, Magda van Vloten and Mirjam van den Brink called the monochromatic film, “A hopeful and optimistic story, without toning down the challenges for especially younger people,” observing that Katz favoured, “radical choices regarding narrative, structure and cinematography.”

The prestigious Robby Müller Award, which honours an ‘image maker’ (director of photography, filmmaker or visual artist) who, in the spirit of the late Dutch cinematographer Robby Müller, has created an authentic, credible and emotionally striking visual language throughout their oeuvre, was bestowed upon American filmmaker Kelly Reichhardt (pictured, below), whose latest feature First Cow screened at IFFR 2021.

“We see in Kelly Reichardt, not just a liberating independence and clarity of aesthetic vision, but also someone who, in a self-evident way, carries on Robby Müller’s legacy,” stated the Müller Award jury. “They share a talent for depicting the American landscape in all its variety as much more than a supporting character, and for portraying humans in the most subtle and sensitive way. Both are able to visualise what can’t be expressed in words by creating pristine, unforced images in which the narrative can unfold and evolve, and the viewer's gaze can wander.”

The full list of IFFR 2021 winners are:

TIGER COMPETITION
Tiger Award: “Pebbles,” by Vinothraj P.S.
Special Jury Award: “I Comete – A Corsican Summer,” by Pascal Tagnati
Special Jury Award: “Looking for Venera,” by Norika Sefa

BIG SCREEN COMPETITION
VPRO Big Screen Award: “The Dog Who Wouldn’t Be Quiet,” by Ana Katz

AMMODO TIGER SHORT COMPETITION
Ammodo Tiger Short Award: “Sunsets, Everyday” by Basir Mahmood
Ammodo Tiger Short Award: “Terranova” by Alejandro Pérez Serrano and Alejandro Alonso Estrella
Ammodo Tiger Short Award: “Maat Means Land,” by Fox Maxy

OTHER AWARDS
Robby Müller Award: Kelly Reichardt
BankGiro Loterij Audience Award: “Quo vadis, Aida? by Jasmila Žbanić
FIPRESCI Award: “The Edge of Daybreak,” by Taiki Sakpisit
KNF Award: “Manifesto,” by Ane Hjort Guttu
Youth Jury Award: “La nuit des rois,” by Philippe Lacôte

RENOWNED ASTROPHYSICIST ANNOUNCED AS SYDNEY SCIENCE FICTION FILM FEST PATRON

The Sydney Science Fiction Film Festival (SSFFF) is honoured to welcome Dr Maria Cunningham as the event’s latest Festival Patron. One of the world’s most respected radio astronomers and a senior lecturer at the University of New South Wales (UNSW)’ School of Physics, Dr Cunningham joins film director Alex Proyas as a patron of the inaugural event, a true celebration of international science-fiction culture with 19 countries represented in the 2020 line-up.

“Maria’s extraordinary combination of scientific brilliance, academic prowess and genre fan passion makes her one of the most unique individuals in the world of astrophysics,” says SSFFF Festival Director, Simon Foster. “To have someone of her stature contribute to the establishment and growth of our festival is beyond any development we could have hoped for. It is a privilege to have her commit her valuable time and invaluable knowledge to the Sydney Science Fiction Film Festival.” (Pictured, top; Dr Cunningham in the Atacama Desert, Chile, trekking to the 5000m high NANTEN2 telescope)

“Science fiction is how the majority of people interact with science, even though they are not conscious that this is what they are doing,” says Dr Cunningham, who was inspired as a 12 year-old by The Black Cloud, the 1957 novel by astrophysicist Fred Hoyle (pictured, right). “When we watch popular movies such as Deep Impact or The Martian, our interest is sparked enough to look for more information. We discover that sci-fi has provided good factual information as a base for further exploration.”

This deep appreciation of speculative storytelling led to Dr Cunningham convening the hugely popular tertiary course, ‘Brave New World’. Designed to present and discuss science fact and fiction to students from non-scientific backgrounds, her lectures explore the relationship between literature, science, and society, often utilising such pop culture benchmarks as Futurama and Macguyver.

Within the course structure, attendees will hear references to such science-fiction works as Contact (“It shows just how far our radio broadcasts have already gone”); The Planet of The Apes (“A great example of special relativity”); and, Another Earth (“Explores the implications of discovering – and accessing – a parallel world”). Says Dr Cunningham, “Science fiction gives us a space to explore complex – and seemingly impossible – concepts in playful, engaging ways.”

“Our world is changing faster than at any time in human history,” she observes. “This body of popularly accessible work gives us all the ability to imagine how scientific and technological discoveries could change our future. It speaks to how we can best as a society collectively manage both the promised and dangers of possible changes.”  

Internationally renowned in her field, Dr Cunningham specialises in research into the interstellar medium (“The stuff between the stars,” as she calls it), home to over 200 complex organic molecules that represent the building blocks of life. Part of her research involves searching for new "biogenic" molecules in space, to help modern science understand how life formed so quickly on the surface of the newly formed planet Earth. 

From an early fascination with mathematics, she ended up doing a PhD with the Radiophysics Division at the CSIRO’s Australia Telescope National Facility. “After being offered several projects, the one studying ‘dark, molecular clouds’ seemed like a match made in heaven,” she says, “bringing my love of science fiction and maths/physics together.”

The SYDNEY SCIENCE FICTION FILM FESTIVAL will be held at the Actors Centre Australia from November 19-21. Session and ticketing information can be found at the event's official website.

PREVIEW: 2020 SYDNEY UNDERGROUND FILM FESTIVAL

COVID-19 forced organisers to abandon the physical event, but the 2020 Sydney Underground Film Festival forges ahead as an immense online program as only the typically defiant ‘SUFF’ team could muster. Another round of the Take48 filmmaking challenge, the academic forum Inhuman Screens and new films from Guy Maddin, Yorgos Lanthimos and Matt Dillon (pictured, below) suggests the 14th annual celebration of all things alternative won’t be dictated to by a global pandemic.

Structured as a three-tiered event, SUFF 2020 launches at 7.00pm AEST, Friday August 28th, with Take48, a 2-day filmmaking challenge that demands your production unit (maximum 10 people) must write, shoot, edit and submit your short by 7.00pm AEST, Sunday, August 30th. Just moments prior to the start time, this year’s theme will be announced and must be incorporated in the finished work. Prize packages from Sony Australia, Red Giant and RentACam are on offer.

Phase two will be the launch of the core film strands, which will be available via the festival website from September 10-20. The decision was made to forego feature-length content and focus on the traditionally popular short film strands that have been central to the festival experience since its earliest editions. ‘Love/Sick’ is a collective dozen short films that will engage the mind and fire up the loins (including Eve Dufaud’s urination celebration, Le Jet; pictured, right); the mind-altering impact of cinematic psychedelia is embraced in 10-strong strand, ‘LSD Factory (featuring the World Premiere of Wrik Mead’s pixelated sexual odyssey, Broken Relationship).

The short film roster continues with ‘Ozploit!’, twelve films from idiosyncratic, independent local directors, amongst them Michael Gosden, who will be holding the World Premiere of his bushland-set horror/comedy Stick; the contemporary social collections known as ‘Reality Bites 1 & 2’, the highlight being character actor Mark Metcalfe (Animal House; Seinfeld; Buffy the Vampire Slayer) reflecting on his life in Vera Brunner-Sung’s Character (pictured, left; Metcalfe with his director; and, horror goes underground in the sidebar ‘Sh!t Scared’, particularly notable this year for featuring Australian actress Caitlin Stasey in Parker Finn's Laura Hasn't Slept (pictured, below).

Some legitimate star power emerges in the line-up of 10 shorts called ‘WTF!’ Matt Dillon (The House That Jack Built; There’s Something About Mary) stars for three-time Oscar-nominee Yorgos Lanthimos (The Favourite; The Lobster) in the surreal subway story, Nimic. And Canadian cinema figurehead Guy Maddin (My Winnipeg; Twilight of the Ice Nymphs) co-directs the monochromatic fairground drama, Stump the Guesser. 

An adults-only animated strand called ‘Late Night Cartoons’, featuring such non-child friendly titles as Turd and Sweet Sweet Kink, and a celebration of Ukrainian short-film prowess called ‘Pickles, Bombs & Borsch’ (including ADG-nominee Stefan Bugryn’s second War Mothers film, Unbreakable) round out the vast online SUFF offerings.

Finally, the Inhuman Screens online conference will unfold over 8 hours on Friday 11th September, exploring themes and issues associated with ‘The Crisis of The Human and The Non-Human’. Attendees include author Lisa E. Bloom, a theorist in the fields of visual culture, film studies and feminist art history and Angela Ndailanis, a research professor in media and entertainment culture.

All details regarding the 2020 SYDNEY UNDERGROUND FILM FESTIVAL, including streaming options and ticketing, can be found at the event’s Official Website.

PREVIEW: 2019 VETERANS FILM FESTIVAL

The experience of those who defend the shores and principles of their homelands will be honoured when the 6^th annual Veterans Film Festival unfurls in Canberra on November 6. The frontline realities lived by soldiers, survivors and first responders from 11 countries will comprise the 2019 program, with 18 short films and seven features to screen at such iconic venues as the Australian War Memorial and the National Film and Sound Archive.

In a major coup for the event, the Governor General of Australia, His Excellency General the Honourable David Hurley AC, DSC (Ret’d) and Her Excellency Mrs Linda Hurley have been announced as patrons of the Veterans Film Festival. This alliance continues a strong history of support between the festival and individuals and organisations representing the returned servicemen and women of Australia and their loved ones. On board in 2019 as Presenting Partner is The Australian Defence Force, with mental health advocacy groups Beyond Blue and The Road Home also providing support.

Opening night will see the Australian Premiere of Vladimir Potapov’s The Cry of Silence, an adaption of Tamara Zinberg’s bestselling story of survival set against the Leningrad Blockade of February, 1942. Shot for Russian television but exhibiting a scale and sense of time and place on par with the grandest theatrical features, it stars Alina Sarghina (pictured, above) as Katya, a teenage girl living alone in the war torn city, whose will to survive is rejuvenated when she finds an abandoned infant boy.

Direct from its Australian Premiere at the Melbourne International Film Festival will be the French animated drama, The Swallows of Kabul. Co-directed by Zabou Breitman and Eléa Gobbé-Mévellec, this stunning, deeply involving film recounts the romance between Mohsen and Zunaira in Kabul in the summer of 1998, when life was ruled over by the Taliban militia. The Closing Night feature will be the U.S. documentary The Interpreters (pictured, above) from directors Sofian Khan and Andres Caballero, an insider’s perspective on the Iraqi and Afghan nationals who work as ‘the voice’ of American forces in foreign combat positions.

Australian films will be represented by encore screenings of Kriv Stenders’ recent box office success Danger Close, the powerfully immersive re-enactment of The Battle of Long Tan; the A.C.T. Premiere of Storm Ashwood’s PTSD drama Escape and Evasion, starring Hugh Sheridan, Firass Dirani and Rena Owen; and, Tom Jeffery’s classic 1979 story of military mateship, The Odd Angry Shot, which has been lovingly restored by NFSA staff to coincide with its 40^th anniversary. Also screening will be a selection of episodes of the online documentary series Voodoo Medics, from director Kristin Shorten.

Four Australian shorts will screen, including Jason Trembath’s scifi-tinged drama Carcerem and Joseph Chebatte and Julian Maroun’s intense Afghan-set morality tale, Entrenched. Also screening will be four films from the U.S., amongst them the breathtaking animated work Minor Accident of War (pictured, right), based upon the true story of B-17 navigator Edward Field, and Brooke Mailhiot’s ode to the military canine, Surviving with Grief.

Indicating the truly global perspective that the Veterans Film Festival encompasses, other countries represented in the short film line-up include Iraq (Ali Mohammed Saeed’s Mosul 980; pictured, below); New Zealand (Pennie Hunt’s Milk); Russia (Irina Kholkina’s Carpe Diem; Sergey Bataev’s Old Warrior); U.K. (Max Mason’s Their War); Iran (Amir Gholami’s The Sea Swells); France (Raphaël Treiner’s Sursis); The Czech Republic (Tereza Hirsch’s Beyond Her Lens); India (Ashish Pandey’s Nooreh); and, Bulgaria (Iva Dimanova’s War Machine).

All films submitted are eligible for the Red Poppy Awards, which will be presented ahead of the Closing Night Film on November 9 at the Australian War Memorial. The award derives its name from a passage in the wartime poem ‘In Flanders Field’ which describes the flowers that grow quickly over the graves of the fallen. The lauded passage was written during the First World War by Canadian physician Lieutenant-Colonel John McCrae after presiding over the funeral of friend Lieutenant Alexis Helmer, who died in the Second Battle of Ypres.

Inspired by 'In Flanders Fields', American professor Moina Michael resolved at the war's conclusion in 1918 to wear a red poppy year-round to honour the soldiers who had died in the war, a act of respect that has grown into a global movement today. Past winners of the Best Film Red Poppy include Joe Wright’s Darkest Hour (featuring Gary Oldmans’ Oscar-winning performance as Winston Churchill) and the LGTBIQ-themed documentary Transmilitary, from directors Gabriel Silverman and Fiona Dawson.

The VETERANS FILM FESTIVAL runs November 6-9 in Canberra. Full session and ticket iformation can be found at the official website.