Australian Film
COMBAT MIRROR follows a groundbreaking brain-health research program - the Pearce study, currently in academic submission - built around one urgent question: can combat sports be made safer for the young fighters taking them up. With access to the researchers behind it, the coaches implementing it, and the fighters volunteering as its first subjects, the film tracks how early screening and defensive-technique reform could reduce the neurological toll of boxing and MMA before it starts. Made with the support of the Concussion Legacy Foundation, COMBAT MIRROR moves between the lab and the gym to argue that protecting a fighter's brain and protecting the sport are the same fight.
"The Witchdoctor and the Windmill” explores the life of the Indigenous artist, Linda Syddick Napaltjarri. She was the last of the world’s 6 ‘clever women’ who after experiencing a fully traditional, nomadic desert childhood went on to win Australia’s biggest art prize.
Linda’s insistence that she had her stepfather’s permission to paint his Dreaming stories (men stories are usually forbidden for women to paint amongst her people; the Pintupi) cast her as a maverick and led to a rift between family and community.
This film explores Linda’s personal and community struggles alongside the larger themes of colliding cultures as the Pintupi confronted new and bewildering intrusions into their country.
Her paintings are visual records of first contact in the 1940s as the Pintupi began their first encounters with White Australia. She was the first Pintupi Modernist and last senior female artist of her era.
This biopic traces Linda's life coming in from the western desert in a traditionally raised family to her painting journey which took her art to the heady heights of the European art scene, and then back to the art sheds of Alice Springs. The Australian government gifted Linda’s work to visiting dignitaries, and yet she passed away as a prophet without honour. With these exclusive interviews and her full co-operation, we wanted to acknowledge her astonishing legacy and place in history.
When John, a brilliant but volatile lawyer on the brink of personal ruin, accepts a massive retainer to defend a wealthy businessman accused of murdering his own son, it seems like a straightforward path to redemption. The suspect claims innocence, pointing toward an accidental shooting amidst a toxic family dispute. But as John dives deeper into the investigation, drowning in files, contradictions, and unsettling evidence, enters a psychological labyrinth. Confronted by a grieving, unyielding mother and an enigmatic family history, the line between hunter and hunted begins to blur. Driven by obsession, John must uncover the truth behind a tragic family dynamic before the darkness consumes the case and his last chance at saving his own family.
The violent atmosphere of late 1950s Monarch, Michigan, adds yet another individual to it's death toll when a wealthy banker falls victim to a homicide. Private eye, Jack Harrigan (Jai Kril), once notorious as a master at his work now drowning in sorrow, cheap liquor and lackluster gigs is assigned to this case by a confidential entity. An opportunity to restore justice, he pounces at it, only to uncover a rabbit hole, it's inner linings made up of bloodlust, greed and resentment. Alongside his soft-spoken yet toughened secretary, Selene Marlowe (Abbey Cartland-Hore), Harrigan works tirelessly and endlessly to clean his name and the corruption which swallows the city whole.
The intention of LUCID was to explore the proliferation of digital media that has cultivated an era where the lines between reality and fiction are increasingly blurred. Though we turn to social media to connect, it ultimately estranges us from ourselves and others and to reality itself. The purpose of LUCID is to allegorically represent this disconnect through the medium of lucid dreaming in order to expose the disintegration of the authentic self within a hypermediated world. My film would be suited to audiences who have a suspicion that the contours of existence extend beyond the dimensions of an iPhone screen, who are painfully aware that we are, in the words of Postman, “amusing ourselves to death.”
A highschool girl finds her friends suddenly avoiding her when she starts taking control of her future.
The violent atmosphere of late 1950s Monarch, Michigan, adds yet another individual to it's death toll when a wealthy banker falls victim to a homicide. Private eye, Jack Harrigan (Jai Kril), once notorious as a master at his work now drowning in sorrow, cheap liquor and lackluster gigs is assigned to this case by a confidential entity. An opportunity to restore justice, he pounces at it, only to uncover a rabbit hole, it's inner linings made up of bloodlust, greed and resentment. Alongside his soft-spoken yet toughened secretary, Selene Marlowe (Abbey Cartland-Hore), Harrigan works tirelessly and endlessly to clean his name and the corruption which swallows the city whole.
Two teens escape a disease outbreak in the early hours of the morning and are faced with the challenge of surviving for the days to come.
