Wounds of a Boy (SCRIPT, AU)
Due to copyright protection we are unable to reveal the script online. Anyone interested to read the script may have to contact the writer directly and ask for permission or a copy of the script. Thank you for your understanding.
Shane returns to his rural childhood home with one objective: get through a family gathering without reopening the wounds he buried decades ago. But when his uncle Mort — the man who raised him after his parents’ deaths — is declared missing, Shane is forced back into the place where his trauma began.
As police question the family, Shane’s composure fractures. His preserved childhood bedroom, filled with relics of boyhood, becomes a silent witness to what was taken from him. His wife Audrey senses the truth before Shane can speak it — that Mort’s disappearance is bound to years of sexual abuse hidden behind respectability and silence.
When Mort reappears unexpectedly at Shane and Audrey’s remote Australian property, the past refuses to stay buried. Audrey witnesses Mort’s predatory control over Shane and understands, with devastating clarity, that the abuse never truly ended. Faced with a system that failed a child and would protect the abuser again, Audrey acts. Mort is killed, and his disappearance becomes deliberate.
In the aftermath, Shane confronts the cost of survival — the shame, the fear, and the complicity enforced by love and family. As police search for answers inside the same house where the abuse occurred, Shane and Audrey choose a different kind of silence, mirroring the lies that once protected Mort.
Yet something shifts. Shane moves from a man frozen by trauma to one who is finally seen and defended. Audrey becomes both protector and moral reckoning. 'Wounds of a Boy' is a stark Australian psychological thriller about buried violence, inherited silence, and the terrible, transformative moment when a survivor is finally believed.
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Due to copyright protection we are unable to reveal the script online. Anyone interested to read the script may have to contact the writer directly and ask for permission or a copy of the script. Thank you for your understanding.
Space Is No Place For Tourists. A private spacecraft is struck by the corpse of a long dead Cosmonaut putting the ship on an Extra Orbital trajectory that will certainly kill everyone aboard unless they embark on a course of action that puts them on a collision course with Geostationary Satellites, a Killer Satellite, a Zombie Satellite and a Killer Satellite Killer.
Due to copyright protection we are unable to reveal the script online. Anyone interested to read the script may have to contact the writer directly and ask for permission or a copy of the script. Thank you for your understanding.
On the edge of losing her business, her custody battle, and her peace of mind, Carrie walks into what should be a simple listing appointment. Instead, she finds a dead body, a briefcase filled with diamonds, and a carry-on packed with $500,000. In a moment of desperation, she takes the money never imagining it belongs to Hector Ochoa’s cartel or that it sits at the center of a covert DEA mission.
Her discovery sparks a deadly pursuit. A cartel hunting her. A government operative watching in silence. A kidnapping that drags her into a kill house where screams are the only certainty. She survives only through a mysterious intervention. When she returns home shaken, she finds a quiet answer to her desperate prayers: the missing suitcase of cash waiting in her trunk. With her tormentors gone and her fortunes suddenly shifting, Carrie finally sees a path to reclaim her daughters and rebuild the life she was losing.
Written by Natalia Cricri. 15pages
Natalia Cricri is an award-winning Argentinian-born Australian filmmaker, writer, and educator known for her emotionally charged, socially provocative storytelling. Since relocating to Australia in the early 1990s, she has developed a distinct creative voice that examines the intersection of personal trauma, societal expectations, and power dynamics.
Her breakout short film Two Dollars (2023) garnered widespread critical recognition across the international festival circuit. The film received the Chairperson’s Choice Award at the Multicultural Film Festival and won both Best Australian Film and Audience Choice at the Illawarra Short + Sweet Film Festival. It was also nominated for Best Emerging Female Director and Best Australian Film at the AFIN International Film Festival, and Best Australian Short Film at the Melbourne CINERVERSE Film Festival. Internationally, Two Dollars was recognised as a finalist at the Golden Bridge Istanbul Short Film Festival and MMM Festival, and nominated for Best Film at the Toronto Couch Film Festival.
Her earlier short film An Eight Letter Word Starting with A (2021) achieved international success, winning Best Director at the London Indie Short Festival of 24 Frames and Best Editing at the Toronto Independent Festival of CIFT, while also earning finalist and semi-finalist placements across festivals in the UK, Canada, and Australia.
Natalia holds a degree in Performing Arts, a Master’s in Education, and a major in English studies—an academic foundation that informs her layered, character-driven narratives. Her work frequently interrogates dominant cultural narratives, with a focus on women’s roles, LGBTQ+ experiences, and socially contested issues such as discrimination and bodily autonomy.
Her forthcoming screenplay, Wounds of a Boy (2026), marks a shift into psychological thriller, exploring the long-term impact of childhood abuse and the complexities of silence, complicity, and justice. The project further cements Natalia Cricri as a filmmaker committed to challenging audiences and amplifying stories that resist simplification.
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