NEW DOCO CAPTURES VOICES AND SPIRIT OF YOUNG AUSSIES AT WAR

A tale of human connection, hope and resilience in the face of great tragedy, director Serge Ou’s latest documentary Under a Bamboo Sky uses new technology to bring to life the unbelievable story of Australian soldiers held prisoner by the Japanese in World War II.

Using their own words, spoken in their own voices, the film weaves the oral testimony of more than 60 former POWs reflecting the culture, language, and individual experience of a place and time with newly colourised archival material and new location footage. The result is a moving, intimate, first-hand account of their wartime experience. After bearing witness to some of WWII’s most history-defining events, the men also tell of returning home after years away, and of the price they paid for the trauma they endured.

“If we can open a window for people to start to understand the experience, we will have honoured these men, both for what they survived, and for their courage in sharing their story as a legacy for future generations,” says Ou (pictured, right), whose production shingle Wildbear Entertainment undertook the daunting research project. “Much of this story has been told before in traditional documentary formats, and many people have heard the stories of the building of the Thai-Burma Railway. But these POWs’ experience has many chapters, each worse than the last. We wanted to tell that story, but elevate the experience for the audience.”

On February 15 1942, British led forces surrendered to the Japanese following the Fall of Singapore and 130,000 Allied troops became prisoners of war, 15,000 of them Australian. Most were moved to Changi Barracks, where they were joined by other Australians captured in Java, Timor and other actions. In May 1942, these Australians were sent in large work parties to other camps in Thailand, Burma, Indonesia and Malaya for tasks including the construction of the Thai-Burma Railway. More than 2,700 Australian POWs died during its construction.

To bring their story visually to life, the filmmakers colourised footage – a first for much of the material in the Australian War Memorial archive – animated photographs of soldiers, and shot new footage in the locations of their captivity. “Starting with the incredible gift of these recorded interviews, we set out to make Under a Bamboo Sky a holistic and immersive experience for audiences to hear, see and feel these men’s experiences,” says Ou. “While listening to their voices, the film is layered with the portraits taken as they entered the military, brought to life on screen.”

Wildbear employed cutting edge A.I. technology to enhance the still images of the young soldiers, giving the impression of a living, present entity, but are quick to point out they did not utilise any generative A.I. in the production. “The underlying language of the film [is] to tie the film together by the men’s voices, telling their own story,” says Ou. “The Australian Army had shot service enlistment portraits of soldiers before they left for war. We were able to include the actual photographs of the men whose voices you are hearing [and] bring those portraits to life. We can see them not as old diggers who march on ANZAC Day, but as the young men they were.”

Serge says “We were so pleased to get permission to colourise the footage so you are not looking at an artefact from outside, which is what black and white footage sometimes evokes. Colour brings you into the moment and takes away a barrier between you and the images – subconsciously you see the soldiers more as people, so we made very intentional decisions to help the audience experience their experience.”

It is only the final frames of the film that you see one of the speakers, Allan Herd (pictured, above), as he was at the age he filmed the interview - 50 years after liberation. Serge says “It felt very impactful, a really potent full stop to the story. The film allows you to look back and contextualise his life, his experiences and what it was like to live with that for the rest of his days.”

UNDER A BAMBOO SKY will have its World Premiere on March 25 in Canberra before special in-cinema events across the country in the lead up to ANZAC Day 2026. Session and ticketing details can be found at the project’s official website.

PREVIEW: 2026 GENDER EQUITY IN MEDIA FESTIVAL

Gender Equity in Media Society Vancouver (GEMS) has unveiled the full lineup for the 21st annual Gender Equity in Media Festival (GEMFest), returning to Vancouver's VIFF Centre from March 5–8, 2026. Featuring 35 films from 13 countries, including 18 Canadian films and 11 British Columbia-based creators, GEMFest 2026 spotlights bold, urgent storytelling by women and gender-diverse filmmakers working across form, genre, and geography.

At a moment when film industries worldwide are reckoning with who gets to control the camera—and whose stories continue to be marginalized—this year’s program platforms films that subvert dominant narratives, disrupt power structures, and interrogate the systems shaping what we see on screen.

“Subverting and disrupting mainstream media messaging, which is increasingly pushing a patriarchal agenda, is incredibly important now, perhaps more than ever,” says Anaïsa Visser (pictured, right), Executive Director of GEMS. “We must bring forward the voices of those who challenge hegemony and misogyny, and those who value collective action over individual gains.”

GEMFest kicks off with a screening of Teresa Alfeld's feature Hearse Chasing, a chronicle of Vancouver-based musician Cassidy Waring as she returns to her hometown in search of answers about her family’s tragic breakdown. Topping the session will Burcu’s Angels, an exploration across three decades of chosen family and care through the story of Turkish queer elder Burcu Özdemir, whose Vancouver home became a sanctuary for community. The evening will conclude with a live performance by singer-songwriter Cassidy Waring. 

“I [was] deeply moved by our opening feature and eagerly anticipate our audience’s response,” says Festival Director Della Haddock. “This year’s program reflects the exceptional care and intention of our programmers, and the entire GEMFest team has done outstanding work.”

Additional festival highlights include Indigenous feature films from Canada, the United States, and New Zealand; five curated short film programs; and, Acts of Vision, a dedicated series spotlighting Black-led films from Canada and abroad. 

Tristin Greyeyes' A Cree Approach (pictured, top), an examination of the once-dying Nehiyawewin language, will have its world premiere at the festival. Baljit Gangra will be screeniung her feature Have You Heard Judi Singh?, her rousing story of the trailblazing Black-Punjabi jazz singer (pictured, right). Other film highlights are the Canadian and hometown debuts from BC filmmakers Ariel Bond with Rupture, Omorose Osagie with Lost Wax and Amanda Wandler with W7éyle (Moon's Wife). Canadian premieres from international filmmakers including: Fire Within, Your Email Has Not Found Me Well, Naaz, Don't be late, Myra, Yáamay: An Ode to Blooming and many more. 

Alongside its film programming, GEMFest will host a focused industry program featuring panels, conversations, and networking events that address community storytelling, discovery and promotion, funding realities, and navigating the Canadian feature film landscape. Highlights include Who Holds the Story?, a conversation with community elders, knowledge holders, and producers on consent and cultural stewardship; Getting Seen, a discussion with local programmers and publicists on discovery in advance, during and after production; and Funding Realities, a candid town hall with funders and producers.

Full details including session times and ticketing can be found at the GEMfest website.

PREVIEW: 2026 ALLIANCE FRANÇAISE FRENCH FILM FESTIVAL

The 37^th Alliance Française French Film Festival has revealed a full program of 38 films, screening over nine weeks, across 18 cities and 40 venues from 3 March – 26 April 2026. The nation’s largest film festival and celebration of French film outside France will see festivalgoers embark on a unique cultural journey featuring French box-office smash-hits, star-studded adaptations, Hollywood stars and Cannes masterpieces.

"This year’s programme reflects the extraordinary vitality and diversity of French cinema," says Alliance Française French Film Festival CEO Frédéric Alliod. "We remain deeply committed to championing women on screen and behind the camera, celebrating new talents alongside cinema legends, and offering films that move, surprise and inspire. More than ever, the festival is a celebration of French storytelling in all its richness, openness and emotion, and a platform for intercultural exchange and dialogue with our loyal Australian audiences.”

Opening this year’s festival will be Cédric Klapisch’s acclaimed La Venue De L’avenir (Colours Of Time), a  homage to France’s rich artistic heritage and changing social mores. Starring Suzanne Lindon, Vincent Macaigne, Cécile de France and Paul Kircher, the comedic drama follows the lives of cousins who inherit an old house in rural Normandy and retrace the steps of their ancestors in 19^th century Paris.

Closing the festival is Johann Dionnet’s Avignon (Rodrigue In Love). The must-see romantic comedy is set in the heart of the country's most famous theatre festival, Avignon, and stars Baptiste Lecaplain, Alison Wheeler and Lyès Salem.

This year’s lineup features 10 films directed by female filmmakers and has no shortage of French star power, with icons such as Isabelle Huppert in La Femme La Plus Riche Du Monde (The Richest Woman In The World) and Laure Calamy in Classe Moyenne (The Party’s Over!) and C’est quoi L’amour ? (What is Love?), as well as exciting newcomers like Amélie Bonnin with Partir Un Jour (Leave One Day) and Enya Baroux in On Ira (Bon Voyage, Marie).

Adding to the program’s line-up of powerhouse female filmmakers will be Julia Ducournau’s striking Alpha, Cannes darling La Petite Dernière (The Little Sister) a coming-of-age drama by Hafsia Herzi featuring break-out star Nadia Melliti; Rebecca Zlotowski’s Vie Privée (A Private Life) showcasing the extraordinary Jodie Foster in her first French language leading role; La Tour de Glace (The Ice Tower) directed by Lucile Hadžihalilović and starring Marion Cotillard; and Barbara Schulz’s Le Secret de Khéops (Treasure Hunters: On The Tracks Of Khufu).

Direct from the Croisette will also be Cannes Film Festival stand-outs L’Inconnu de la Grande Arche (The Great Arch), the story of Otto von Spreckelsen, a real-life architecture teacher from Copenhagen who surprised the world when he won an open-call competition to design the Great Arch of La Défense; French coming-of-age drama Enzo; Dossier 137 (Case 137) a crime drama co-written and directed by Dominik Moll, starring Léa Drucker; and Amélie et la Métaphysique Des Tubes (Little Amélie or the Character Of Rain) an animation from filmmakers Maïlys Vallade and Liane-Cho Han.

Audiences will travel to Paris and beyond with the return of the Festival’s much-loved showcase screening events including the ‘Centrepiece’ premiere of La Femme La Plus Riche Du Monde (The Richest Woman In The World); ‘Taste of France’ selection La Réparation (Redress) from Oscar winner Régis Wargnier; ‘Classic Movie’, Un Homme et une Femme (A Man and a Woman) a timeless masterpiece directed by Claude Lelouch and starring Anouk Aimée and Jean-Louis Trintignant; and ‘Ladies Night’ French time-travel comedy showcase C'était Mieux Demain (Cycle Of Time).

These titles and more join the already-announced headliner titles Jean Valjean, L’Étranger (The Stranger), C’est Quoi L’amour? (What Is Love?), Coutures (Couture), Chien 51 (DOG 51) and Classe Moyenne (The Party’s Over!).

DREAM WEAVER: THE MICHEL FRANCO INTERVIEW

The films of Michel Franco get in your head, if the titles are any indication. In 2023, he directed Peter Sarsgaard to the Venice Film Festival Best Actor award for MEMORY; he's directed Tim Roth in CHRONIC (2015), and Mónica Del Carmen in THROUGH THE EYES (2012). His latest, DREAMS, reunites him with Sarsgaard's co-star, Jessica Chastain, in a film that is, says the director, "a study of human interaction, where power, vulnerability, and chemistry between the characters intertwine in an emotional and visceral narrative."

Coming off a year-long festival rollout that began with a World Premiere in Berlin and ahead of it's U.S. theatrical launch in February, Michel Franco revealed some truths about the complexities of his sexually-charged, politically incendiary drama, and how his friendship with Chastain helped both artists through the shoot...   

SCREEN-SPACE: DREAMS looks at the world through a love story, a family drama, social inequality – but like all your films it also deals with power and acts of violence and cruelty, often within the context of family structures and relationships.

MICHEL: Cinema is a very good medium to understand the dynamics of families and societies. And violence is something that when it's not glamorized is interesting to see on the screen. It's something that I never shoot in a way that is enjoyable. So it's not a glorification of violence. And it probably has to do with the fact that I grew up in Mexico. We witness how violent acts are committed almost on a daily basis. But it's not something exclusive to Mexico. It happens all over the world. I appreciate filmmaking that instead of escaping the complex realities we have to live and analyze and confront them.

SCREEN-SPACE: After MEMORY in 2023, DREAMS is your second film with Jessica Chastain as female lead and producer. Can you tell us more about your collaboration with her?

MICHEL: MEMORY was fairly traditional; she read the script, she was familiar with my work, she liked it and we just thought we'd give it a chance and work together, and we had such a good experience. And during MEMORY on a lunch break, without realizing, I talked to her about the next movie. At the time it had no ballet in it, but the other elements were pretty much in place. And she said yes, I'll do it, because we were both enjoying ourselves very much. We had no conflicts at all shooting MEMORY. I give actors a lot of space to work. I'm respectful and try to not overdirect, and actors appreciate that. With someone like Jessica, why would I micromanage such a good actress when I want her to expand herself? DREAMS was a different experience because we had lots of conversations before, during and after writing the script. Now we're close friends, so it's a very different dynamic than what we had on MEMORY.

SCREEN-SPACE: Most of your characters in your films are conflicted. How would you characterize Jennifer as a character? How did you discuss that with Jessica?

MICHEL: Jessica likes a challenge, and that's why she likes shooting with me. Because we're not making movies that show only the best side of the characters we're doing, often quite the opposite. To explore the dark side of people. Jennifer, her character in DREAMS is a good person, or so she believes. But then it's easy to be good when you're wealthy and everything is fine and you have no real problems in life. But what happens when you have to face challenges? That's what normal people in the world have to do. Suddenly, Jennifer is troubled. And she doesn't react well. Jessica is at a point in her career where she likes these challenges.

SCREEN-SPACE: How much of the way Jessica portrays her character was determined by the script, and how much emerged during the shoot?

MICHEL: The script is pretty much the script, but how she talks, moves, dresses, that is all pure Jessica. We often discussed how to play a certain scene, and I trust her a big deal because she knows better than me how to represent her character. So why not take advantage of all that experience she has? Especially because she wasn't born into it. And that's exactly, I think, why she understands this role so well. This privileged universe, the universe of privileged people. Jessica is not like that at all. But she knows that world inside out by now. Because, you know, she's a Hollywood star, a celebrity. She's done her bit of research, to say the least.

SCREEN-SPACE: Let’s talk about Isaac Hernández. As a dancer, he is a huge star already. So how did you cast him as an actor?

MICHEL: I had the idea to make the film without the ballet, and then became friends with his sister. She invited me to see him, and I was sitting at an auditorium with 10,000 people. Isaac came on stage before the show in what was supposed to be an improvised way and takes the microphone and says to the audience:  “I don't know why I'm doing this. I just felt like it, but I wanted to thank you all for coming tonight. I'm very shy, so I don't know how I gathered the courage to take the microphone. Thank you for being here, and thank you for making ballet popular again.” And I look around and everyone's smiling and they're into the emotions already, before any dancer has danced. And I said to myself: “He's a terrific actor, and also, he's full of it, because I'm a film director, so I know when you're acting. I may not believe for a moment that this is all improvised, but all the same I'm deeply moved by what you said.” So even before I saw him dance that night, I thought this guy's going to be an actor of my movie. The charisma that he has when he dances really translate to the screen. He naturally communicates emotions and energy. So I also thought, why wouldn’t I give a young Mexican who hasn't acted in a feature before the opportunity to appear with Jessica Chastain?

SCREEN-SPACE: Another challenge for the actors is the general physicality of DREAMS, notably the explicit sex scenes. Why do you feel those scenes were necessary for your narrative?

MICHEL: When I had the initial conversations with Jessica, we understood that these scenes are a central part of the film. She was fascinated by how these things would tell more than just an intimate moment. The story keeps moving forward because of them. There's a lot more going on than just love-making, they are not voyeuristic. They are central for understanding the characters and serve the story.

SCREEN-SPACE: Getting to a level of comfort must take some time.

MICHEL: Shooting such scenes is always challenging. I trust the actors. I don't tell them exactly how to play this in the same way that I don't tell them how to play other stuff. But of course, there's some sort of choreography, and the three of us discussed it until we were all comfortable. And for me, it’s important to rely on my team. I like working with the same set of people over time. The cinematographer has a huge part in making this work, both aesthetically and atmospherically. Yves Cape has been in that role for my last seven movies already, so we understand each other blindly at this point. And that transmits to the actors, too.

SCREEN-SPACE: DREAMS also tackles the complicated issue of immigration. Did that feel like a daunting task?

MICHEL: I have always been concerned about social disparity, economic injustice, how unjust the world is. I'm sensitive to this because I'm Mexican, but because of that social disparity, there's also a large number of Mexicans that try to cross the border looking for a better life, contributing to the American economy and society and cultural life in many ways. And yet they're often portrayed as parasites or criminals, as taking something away from the country, when the truth is the very opposite. These negative reactions are normally related to the lack of opportunities and to social disparities that ironically also exist in the U.S. Critics of immigration often point their fingers in the wrong direction and often look for someone to blame that has no connection at all with the problems that originate in

SCREEN-SPACE: Do you see DREAMS as a criticism of the role of the mega-rich in today’s society? 

MICHEL: I speak on behalf of the vast majority, and we're all tired of how unbalanced the world is. Privileged people seem to be above the law. And they're also constantly preaching but not practicing. This small percentage of the world bringing more trouble than solutions and getting in way beyond what they know when meddling in politics just because they can – because of their money, not individual merit.

DREAMS is in U.S. theatres from February 27, 2026 from Greenwich Entertainment

With thanks to 42 WEST

ANGST AT 25: AUSTRALIA'S TURN-OF-THE-CENTURY TEEN ODYSSEY IS BACK.

"Write what you know," is any mentor's most sage advice, and Anthony O'Connor took it very seriously. The Australian screenwriter was an inner-city cool kid when he penned the script for ANGST, the raucous, rude and genuinely endearing comedy-drama that turns 25 this year. To coincide with the remastered re-release of the cult film, O'Connor reflected upon the ANGST experience with SCREEN-SPACE editor Simon Foster...:

SCREEN-SPACE: There's an authenticity to the film - its characters; it's understanding of the contemporary teen scene - that suggests you were writing from experience. Were these your people, your life?

ANTHONY: Angst was very much a reflection of my life, with a few changes here and there. I was nineteen when I wrote it and up until that point everything I’d churned out had been basically bad, derivative versions of the horror movies I loved (The Evil Dead, Shivers, Brain Damage etc.) With Angst (at the time called Angst For the Memories) I tried something a bit more personal, although obviously heightened and made more over-the-top for comedic purposes. A lot of the vignettes in the video shop really happened and some of the characters were loosely based on friends and loved ones. Mainly, though, I wanted to get across what it felt like to be young in the late 90s, working in video shops, living in Kings Cross, getting into shambolic misadventures and occasionally stumbling into love. It was a unique time in my life and, looking back, a unique time in the history of Sydney and I suppose Australia in general.

SCREEN-SPACE: Angst makes me think of the edgier, more authentic teen fare, Aussie films like Dogs in Space or He Died With a Felafel in His Hand or Fast Talking. Were there works that inspired you, that you looked to as a kind of mood-board during your writing (from any country)?

ANTHONY: Felafel came out the year after Angst, although I adored the book by John Birmingham, and Dogs in Space is such a classic - both were absolutely influences. I was also a huge fan of Kevin Smith’s Clerks and Linklater’s Dazed and Confused. Pretty much any film that had a lot of walking and talking. Some of Woody Allen’s early stuff, Hal Hartley, Jim Jarmusch; I worked in many video shops all across Sydney so I had unfettered access to the best indie cinema had to offer and I just ate it up. I was also obsessed, like OBSESSED, with horror movies so I tried to channel some of that into the script as well, making Dean (named for Dean Cundey, the cinematographer of John Carpenter’s The Thing, just quietly) write a screenplay set in the Cross where he saw everyone as zombies.

SCREEN-SPACE: When momentum built for the script, and production began to feel like a real possibility, what do you recall of that time? Relate for us the 'young screenwriter' experience...

ANTHONY: I spent a lot of time working on the script over a few years with Daniel Nettheim (director) and Jonathon Green (producer), so it was always just a part of my life to one degree or another. And then it got development funding and everything changed. We were suddenly greenlit and things seemed to move so fast. I remember one night, after attending a goth club (which was something I liked to do back when I had cheekbones and a lower back that didn’t ache), I was staggering home though the Cross and the exterior of the video shop where I worked, IN VIDEO, had been redressed as Video Boy (the store’s name in the movie). Now, I’m sure Dan and Jonno had told me this was going to happen but I’d completely forgotten, and I distinctly remember gaping up at the sign and wondering if I’d slipped inside my own subconscious. It was a wild time, honestly, that was both outrageously exciting and genuinely scary. I got to meet legends like director Alex Proyas who literally called me into his office to say he loved the script and wasn’t at all mad that I made fun of goths and The Crow. I ended up doing some work with Alex and quite a few others, dialogue punch-ups for various TV and movie projects. It was surreal how quickly and dramatically my life changed.

SCREEN-SPACE: Were you there for the shoot? Often writers farewell their words and have no input when the director and actors take over; did you have a say in how the final film was formed?

ANTHONY: I was there for the shoot quite a bit. I played Toaster Junkie who appears in a few of the Kings Cross scenes and because I lived nearby I’d come onto set, or various locations, and watch it all happen. I also lobbed up for some of the exteriors in Strathfield when Dean (Sam Lewis) breaks into the home of his ex, Heather (Lara Cox), with May (Abi Tucker). In terms of my input, I’d worked with Daniel for a few years by the time the film was done (on various other projects), so he sought my opinion and I gave it, but final say was absolutely his, which is as it should be. Daniel brought such richness and emotional depth to so many of the things that could have been just funny and prickly. I remember the late, great David Stratton said of the film that it was “sympathetic, engaging comedy reminiscent of a French relationship pic”, which thrilled all of us.

SCREEN-SPACE: The decision to remaster Angst suggests the film has a legacy, that for a generation of teens there was a truthfulness in the portrayal of their lives that is lasting. How does that make you feel...?

ANTHONY: It’s been quite a journey for how I feel about Angst. I loved writing it and then it came out and didn’t exactly set the box office on fire, which was a bummer. However, it did crazy numbers in video stores and we were told it was Australia’s “most stolen movie” (this is in the days before internet piracy was a thing). However, various companies collapsed or shifted and the DVD release never happened, which was also a bummer. Years passed and I would regularly have people asking me about Angst at parties or events, this little film that was basically impossible to find anywhere (unless you had a dusty old VCR player and a stolen copy). And then last year the good people at the Inner West Film Fest screened the old 35mm print and it went gangbusters! Really great screening, and not everyone who liked it was a crusty Gen-X’er like me! These days I see it as the work of a very young man that is naive but heartfelt and truthful and sometimes pretty funny. The fact that audiences still connect with it, arguably more so now, brings me a great deal of joy. The fact that it can now be watched in a brand spanking new remaster that looks genuinely gorgeous is so amazing. This thing was almost lost media! I’m incredibly grateful to Jonathon Green and the good people over at Screen Inc./Defiant for making sure that didn’t happen. Maybe it can be discovered by a whole generation of new people who want to know what life was like in those strange, heady days of the late 1990s.