Date (2022 sometime) to be advised.
Stay tuned for venue, ticket & booking info.

Short films by Mischa Baka & Siobhan Jackson
(2007-2016, total duration 87 mins)    MA15+

Intro and Q&A with Mischa Baka & Siobhan Jackson

Before they co-directed the low-budget feature You Can Say Vagina in 2018, Mischa Baka and Siobhan Jackson had made numerous short films, separately. Their work is refreshingly individual, in turns experimental, quirky, surreal, edgy, emotional, musical. You won't know what's coming next. A number of their shorts will screen, including Jackson's Donkey in a Lion’s Cage (2013, 13 mins) and Baka's Last Beautiful Friend (2009, 25 mins). (Bill Mousoulis)

This session is MA15+, persons under 15 to be accompanied by an aduit.
Warning: explicit nudity in the short film I like to photograph girls naked.

Part 1: Siobhan Jackson

Burn  (2016, 1 min)
Sweet Beast  (2014, 3 mins)
Night Night Pretty  (2014, 7 mins)
Float  (2016, 3 mins)
1, 2, 3  (2009, 15 mins)
Donkey in a Lion’s Cage  (2013, 14 mins)                TOTAL duration 42 mins

Part 2: Mischa Baka

Walking Shadows  (2014, 4 mins)
Gestures   (2014, 6 mins)
Always, so suddenly, all the time (2015, 4 mins)
I like to photograph girls naked  (2007, 4 mins)
Clothes Dance   (2014, 2 mins)
Last Beautiful Friend  (2009, 25 mins)                    TOTAL duration 45 mins

Date (2022 sometime) to be advised.
Stay tuned for venue, ticket & booking info.

Two films by John Ruane
Queensland (1976, 52 mins) & Feathers (1987, 60 mins)

Intro and Q&A with John Ruane and editor Ken Sallows

Two of the quintessential, widely acclaimed Australian films of the '70s and' 80s, John Ruane's superb diptych Queensland and Feathers builds upon the structures and possibilities of the miniature to ultimately craft something more mysterious and radically open-ended. Linked across the span of almost a decade by the presence of legendary actor, broadcaster and critic John Flaus, Ruane adeptly uncovers everyday drudgery and quiet desperation. (Chris Luscri)

Two of the quintessential, widely acclaimed Australian films of the '70s and' 80s, John Ruane's superb diptych Queensland and Feathers builds upon the structures and possibilities of the miniature to ultimately craft something more mysterious and radically open-ended. Linked across the span of almost a decade by the presence of legendary actor, broadcaster and critic John Flaus, essaying the same role across both films (a lead in one and a cameo in the next), Ruane adeptly uncovers the peculiar sense of everyday drudgery and quiet desperation that characterise the lives of many working men and women. Tonally precise yet seemingly affectless, the films indelibly capture through recurrent, attenuated detail what the director has called a ‘vanishing breed of Australians', a world more rigid, less bound to happenstance and chance than they are to the vagaries of the almost invisibly oppressive Australian cultural logic. From fractured affective relations to the lure of the big, coastal city – with its promise of endless sunshine and a laidback lifestyle – the struggles of Ruane's characters are eminently relatable. To seek an 'elsewhere' – however tenuously – is ultimately an heroic-pathetic goal. Theirs are as much acts of hope and defiance as they are silent, desperate screams against the unyielding, punishingly cyclical train of life. It is no coincidence that Feathers is based on a 'minor' Raymond Carver short story – Ruane seems to have learnt that the smaller the scope, the more pronounced the sense of existential anomie. – Chris Luscri

 

 

On Queensland --

 

"Ruane's characters are familiar Australians on the screen, acted upon rather than acting, waiting for something to happen: Doug and Aub, sad workmates dreaming of making the break from the Melbourne grind to Queensland sun. It is the romantic lure of escape that occupies so many '60s and '70s "road" films... Ruane's wistful theme is the fragility of relationships, goals and dreams. With the help of some excellent playing by John Flaus, Bob Karl, Alison Bird and others, he touches his people with a quality almost Chekhovian – at the no-hopers' end of the social scale. We are actually made to care." – Colin Bennett, The Age, 26th July 1976

 

"A great example of down-beat everyday realism, of struggling ordinary people. Made by the then student John Ruane (who went on to make Death in Brunswick and other films), this also set the template for the "hour-long" indie films that existed in Australian cinema for the next 20 years or so. The actor John Flaus would also continue to work on student productions after this one as well, generously." – Bill Mousoulis, The alternate canon of "great Australian films", Pure Shit: Australian Cinema, 2018.

 

Queensland's profile on OzMovies

On Feathers --

 

"The latter [FEATHERS] achieved mini-cult status after the AFI Award screenings in July and is already sharply dividing audience opinion. The former is a Film and Television School graduation film. While from very different sources, the two films have a number of common threads — a concentration on the most ordinary and seemingly insignificant moments of life, an exploration of the possibilities of love and of the thousand small accommodations that love demands, and unexpectedly similar versions of a form of masculinity that is locked partly into eternal boyhood." - Liz Jacka, Filmnews, December 1987.

 

"The invisible structures of society lurk in the sub-text of Raymond Carver's American short story, now a short (48 minutes) Australian movie. Writer-director John Ruane preserves the insights, cultural relevance and sardonic tone of the original in his translation to another country and another medium, with fine performances from his principals." - John Flaus & Paul Harris, The Age, 5th February 1988.

 

Feathers' profile on OzMovies