A self-funded Australian documentary about the little known sport of calisthenics has made its way to theatrical release after winning the MIFF People’s Choice Award for best documentary.
The documentary, Graceful Girls, directed by Olivia Peniston-Bird, follows 23-year old Brianna Lee’s quest to win Calisthenics’ highest honour – The Most Graceful Girl – after placing second three years in a row.
But its also a story which traces the rise, fall and rise of the Regent Calisthenics Club, which shut down mysteriously at the peak of its success.
It was then run by legendary coach Diane Synnott. Now, Diane’s daughter, Brooke has reopened the club and ex-Regent girls are travelling from far and wide to make sure they are part of the club.
The film is now in its fourth week of theatrical release with Cinema Nova (three screenings per day) and is being distributed by Tugg nationally.
Melbourne-based director, Peniston Bird, told IF the idea came when she was looking for an activity for her three-year-old daughter.
“It started as a short film idea and it grew pretty quickly after the first interviews. I knew it was a bigger story. I had never heard of the Graceful Girls competition,” she said.
“It’s not every day that you stumble upon story gold, and my understanding of the true potential of this project unfolded as I began to film,” she said.
She said the club Matriarch Diane was revered and feared.
“It took a little while for her to stop self-censoring for the cameras, but with pressure to be ready for the final comps steadily increasing throughout the year, and ongoing tension between her and her daughter Brooke, we ended up with an abundance of great footage that captured their heartache and frustration. And Brianna Lee’s angst and stress building up to her final attempt at the Graceful Girl title.”
The film had its struggles after it was knocked back for government funding. But after teaming up with Optimism Film and calling in a few favours Peniston-Bird completed the work.
“We banded together and we got some incredible support from post houses Deluxe and Soundwaves,” Peniston-Bird said.
To avoid paying about $70,000 in fees for use of copyrighted music, Peniston-Bird wrote new lyrics for new music to fit specific scenes.
“There was a huge amount of music throughout the film,” she said.
“Our composer Nathan Goble wrote all the music retrospectively to all the dance routines. It was a creative compromise. Audiences who watch the film can’t believe it’s not the original music. I had to write lyrics that captured the essence of the original music. It was a stressful process but we got there.”
The film now has screenings in Queensland, South Australia, Western Australia and Tasmania.
“It’s just very satisfying and exciting to have an idea and see it through to theatrical release without government funding. I’m so proud to have now competed my first feature film.
“It’s been bloody hard work but I’ve learnt so much along the way and teamed up with some great collaborators. And I’ve made a film I’m so proud of. Sitting at our MIFF premiere and since then, screenings at Cinema Nova, and hearing the audiences laugh out loud, and constant reports a real connection with the story and characters is the ultimate pay off for a filmmaker.