Provocateur, artist, performer: Peter Vanessa "Troy" Davies was a chameleon. Using layers of identity at will, Davies charmed his way through a lifetime of secrets and lies, prostitution, art, HIV, abuse, incest and gender subversion, leaving a legacy of unanswered questions, influential performances and reams of enigmatic home video.
The film is set in a house occupied by a collection of social misfits. The main storyline is that of a strange musician's relationship with a girl, their drug use and his band. These events... See full summary »
The dramatised story of a coal-miners' strike in 1930s Australia, in the small south Gippsland town of Korumburra. The story is told through the struggles of Agnes and Wattie Doig, two Scottish immigrants, who were real people.
Carl Fitzgerald is down-on-his-luck until he meets Sophie, a beautiful Greek girl. He gets a job as a cook, but accidentally kills fellow worker Mustafa. He turns to his unscrupulous best ... See full summary »
In 1962, a prepubescent boy in rural Australia watches painfully as his best friend and first love, an older girl, blossoms into womanhood and falls for a thuggish rugby player, setting off... See full summary »
Seymour is a loner. A small, shy, introverted eleven year old whose parents are separated. By chance Seymour meets the beautiful, effervescent but drug-addicted Angie, who is also lonely ... See full summary »
Sudi de Winter,
Maggie, a 60-year-old widow, desperately needs some money to pay for a medical treatment for her ill grandson, Olly. After one attempt at trying to find a job, she finds herself roaming the... See full summary »
Predrag 'Miki' Manojlovic,
Rowland S. Howard, the Primitive Calculators, Ollie Olsen, Phillip Brophy and many others proffer their recollections and air their animosities in a tribute to the underground music scene of '77 - '81 in Melbourne, Australia.
Rowland S. Howard
Asta Cadell, a lawyer traveling through the Australian Outback on holiday, stops in a small Western Australian town after her motorcycle breaks down and shacks up with Tim Curtis, the local... See full summary »
Looking for the fast track out of suburban hell, two natural born losers scheme an impossible heist. Mick is slack, cynical, and most of all, unemployed. He masterminds the plan while Kev, ... See full summary »
A search for love, meaning and bathroom solitude. Danny goes through a series of shared housing experiences in a succession of cities on the east coast of Australia. Together these vignettes form a narrative that is surprisingly reflective.Written by
Sam's comment, "... the recession we had to have ...", is a quote from former Australian treasurer, Paul Keating, Keating famously referred to the early 1990s recession in Australia as "the recession we had to have". Keating's statement caused much comment in Australia and cost the then Labor government much support. The quote has since been parodied in Australia in many different situations. See more »
In the scene with Dirk and Nina arguing over the pineapple chunks, the label on the can changes from shot to shot, from "pineapple pieces" to "sliced pineapple". Neither can contains "pineapple chunks" as said in the dialogue. See more »
Flip, turn the fucking TV off! People are trying to sleep.
[Flip does not respond]
Flip, have some fucking consideration.
[Danny turns the TV off]
For Christ's sake, Flip... Flipster? Oh, shit. Shit! Fuck!
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Apologies to: Jean-Luc Godard, Buster Keaton, Louise Brooks, Anna Karina, Antonin Artand, Robert Bresson, Jean-Pierre Melville, Andrei Tarkovsky, Fedorico Fellini, Emir Kusturica, Wong Kar Wei, Yasujiro Ozu, Jean-Paul Satre, Simone de Beauvoir, Jean-Paul Belmondo, Jean-Pierre Leaud, Alain Delon, Francis Ford Coppola, Elvis Presley & Sandy Harbutt. See more »
Take a book that everyone loves, rip the guts out of it and stick in a load of pretentious dross that is suffocating the Australian film industry, leaving in only the most superficial aspects of the book itself.
It could have been so much more, the film looks great and the cast, as with most Australian films, is fantastic. It's typical that the script lets down the whole operation with each department that made up the screenwriter's Arts degree getting a nod so big it almost knocks over the set. Any subtle elements of the book are discarded, making it easy to tell which scenes are from the book (crazy, zany, whacky) and which scenes are added (grave, weighty, dripping with irony). It's condescending, self-indulgent, lazy and a complete wa*k.
John Birmingham is one of the few Australian writers who can bridge the gap between rollicking larrikin and insightful observer. It's obviously alot harder than it seems.
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