An advertising executive dies and goes to hell... except nothing changes. Well, his daughter is buying drugs with sexual favours from her brother, and the number of cancer-causing products ... See full summary »
Oscar-nominated director Bruce Beresford (Driving Miss Daisy, Tender Mercies) crafts a tender coming-of-age tale that introduces one of Australian literature's most beloved characters to ... See full summary »
Hong Kong Inspector Fang Sing Leng travels to Australia to extradite a drug dealer. When the hood is assassinated on his way to court, everyone suspects Jack Wilton, a crime lord who the local police haven't been able to pick up.
Palestine, 1917. The British advance has been stopped by the Turkish line running from Gaza to Beersheba. The latest attack on Gaza has failed. The attacking forces included a regiment of ... See full summary »
The story of Lena, the light-skinned daughter of an Aboriginal mother and Irish father and Vaughn, a Murri boy doing time in a minimum security prison in North West NSW. Dramatic events ... See full summary »
Jenna Lee Connors
Based on the book of the same name by Jeannie (Mrs Aeneas) Gunn OBE (1870-1961). Although entitled "A Novel", the book, published in 1908, was really a recreation of actual events. The book became an Australian classic, and was used in schools, and translated into German. See more »
"Once it gets its hooks in you, you'll Never Never want to leave."
We of the Never Never was a real surprise: sounding like one of a thousand other woman-making-her-way-on-the-frontier movies, albeit set in the Australian outback, it actually turns out to be a terrific piece of old-style epic film-making on a grand scale. The unexpected casting pays dividends: Angela Punch McGregor conveys just the right strength of character for someone simultaneously trying to fit in where she's not wanted and who is still open to what those around her have to offer, white or Aborigine, while Arthur Dignam's very unlikeliness as a cattle station manager works in his favour.
Gary Hansen's scope photography is truly breathtaking, and director Igor Auzin's mastery of the frame without losing sight of his characters is so impressive that you wonder why he only made one more feature. The 2.35:1 ratio is not just window dressing either: not only does it stress both the vastness and hard beauty of the place, but it also serves to highlight the marginalisation of the various characters by class, gender or race. Pretty terrific.
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