Anne-Louise Lambert - News Poster


Director, cast set for Rinehart telepic

Mark Joffe will direct the Nine Network telemovie on the world.s richest woman Gina Rinehart and the troubled Hancock/Rinehart dynasty.

Joffe (A Place to Call Home, Wild Boys) will start shooting at the end of this month in Sydney and Western Australia.

Love Child.s Mandy McElhinney will play Rinehart in the telepic produced by Cordell Jigsaw Zapruder.s Michael Cordell, Claudia Karvan and Paul Bennett.. Karvan won't have an on-camera role.

Set primarily in 1980-2002, the plot follows the public feud between Gina and her father Lang Hancock.s second wife Rose Lacson, her struggles to rebuild the company following her father.s death, and her recent battles with her children over their multi-billion dollar inheritance.

Lang and Gina are inseparable, the perfect team, and Gina is confident she will soon inherit the family business. But their relationship is rocked by a series of tumultuous events.

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An Unknowable Evil in ‘Picnic at Hanging Rock’

What you don’t see is scarier than what you do. This horror movie philosophy has been used time and again to great success. The Haunting utilizes little more than sound effects to represent the spirits that torment the characters. The camera in Rosemary’s Baby fades out just before revealing the contents of that menacing crib. The Blair Witch Project never shows its titular villain, preferring to rely on the sinister atmosphere of its forest environment. The human imagination can be a breeding ground for fear and paranoia, and filmmakers love to take advantage of it. By tossing their villains into shadows and ambiguity, they can force viewers to conjure up evils far more terrifying than anything they could show on the screen.

One man took this philosophy to the extreme. Peter Weir’s Picnic at Hanging Rock augments ambiguity to a near maddening level. Not only is the monster never seen,
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RopeofSilicon Movie Club: 'Picnic at Hanging Rock' (1979)

Welcome to the first "meeting" of the RopeofSilicon Movie Club. The film being discussed is Peter Weir's eerie 1979 feature Picnic at Hanging Rock, a film easily described as a mystery and often referred to as a horror. I had hoped to keep my own thoughts to a reasonable length, but the film got the better of me. Feel free to read my thoughts or simply delve into the conversation in the comments below. This is a free for all discussion were thoughts and opinions are allowed to run free... Please do so... Picnic at Hanging Rock is an adaptation of Joan Lindsay's 1967 novel of the same name and is easily summarized, but not explained, by the film's opening text: On Saturday 14th February 1900 a party of schoolgirls from Appleyard College picnicked at Hanging Rock near Mt. Macedon in the state of Victoria. During the afternoon several members of
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A Peter Weir Retrospective

Flickering Myth presents a detailed look at the work of internationally renowned Australian filmmaker Peter Weir...


Weir Did He Go? Flickering Myth Welcomes Back Peter Weir

Trevor Hogg introduces the Peter Weir Blogathon.

A Weir View: A Peter Weir Profile

Trevor Hogg profiles the career of director Peter Weir in a two-part article from 2009.

Saoirse Ronan, Jim Sturgess and Peter Weir on The Way Back

Actors Saoirse Ronan and Jim Sturgess and director Peter Weir discuss The Way Back.

Master and Commander: Peter Weir Returns with The Way Back

Trevor Hogg discusses the making of The Way Back.

Exclusive Interviews...

Picture Perfect: A conversation with cinematographer Russell Boyd

Cutting Edge: A conversation with film editor Lee Smith

The Weir Way: Russell Boyd and Lee Smith Talk About Peter Weir

Career Retrospective...

The Cars That Ate Paris, 1974.

Starring John Meillon, Terry Camilleri, Kevin Miles, Rick Scully, Max Gillies and Bruce Spence.
See full article at Flickeringmyth »

Love Scenes: An Ode to St. Valentine

Andreas from Pussy Goes Grrr here, providing one more love scene to close out Valentine's Day.

The opening credits sequence of Peter Weir's Picnic at Hanging Rock takes place, fittingly enough, exactly 111 years ago. To the tune of Gheorghe Zamfir's doleful panpipe, the pupils of Appleyard College in late-Victorian Australia rush around, preparing for their Valentine's Day excursion—washing their faces, tying on corsets, brushing their hair, and in one special case, declaring their undying love through poetry.

The poet is Sara (Margaret Nelson), an introverted orphan who feels a deep but ill-fated love for her achingly beautiful classmate Miranda (Anne-Louise Lambert), a girl later compared by a teacher to "a Botticelli angel." Sara's affections may be obsessive and naïve, most likely stemming from both her loneliness and the lure of Miranda's divine, ethereal beauty, but they manifest themselves in a long, painfully sincere poem she calls "An Ode to St.
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Peter Weir Retrospective: Picnic at Hanging Rock (1975)

Trevor Hogg continues his Peter Weir retrospective with a look at his internationally acclaimed second film...

Picnic at Hanging Rock, 1975.

Directed by Peter Weir.

Starring Rachel Roberts, Vivean Gray, Helen Morse, Kirsty Child, Anne-Louise Lambert, Jacki Weaver and Tony Llewellyn-Jones.


At the turn of the twentieth century a group of Australian schoolgirls vanish upon entering a mysterious rock formation while picnicking on Valentine’s Day.

In filming the strange period tale based on the novel by author Joan Lindsay, filmmaker Peter Weir had to address a fundamental narrative problem. “With much of Picnic at Hanging Rock it was clearly dangerous ground I was treading on, given the audience’s preconditioning, with a mystery that had no solution. I had to supply an ambience so powerful that it would turn the audience’s attention from following the steps of the police investigation into another kind of film.” To accomplish this for his 1975 movie,
See full article at Flickeringmyth »

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