In many respects, the screen sector today is virtually unrecognisable from three and a half years ago, and not just because the coronavirus pandemic has devastated sections of the industry.
Cinespace has enlisted a group of industry heavy-hitters to deliver an initiative for emerging creatives from First Nations or culturally diverse background who have a pilot TV script ready to pitch.
When Federal Agent Aaron Falk returns to his home town after an absence of over twenty years to attend the funeral of his childhood friend, Luke, who allegedly killed his wife and child before taking his own life – a victim of the madness that has ravaged this community after more than a decade of drought. When Falk reluctantly agrees to stay and investigate the crime, he opens up an old wound – the death of 17- year-old Ellie Deacon. Falk begins to suspect these two crimes, separated by decades, are connected. As he struggles to prove not only Luke’s innocence but also his own, Falk finds himself pitted against the prejudice towards him and and pent-up rage of a terrified community.
Roadshow will launch Robert Connolly's 'The Dry' on January 1 and Glendyn Ivin's 'Penguin Bloom' on January 21, raising exhibitors' hopes of a strong start to the year on the proviso that a raft of Hollywood titles are not postponed.
Producers of narrative features and feature documentaries fear that reducing the Producer Offset for films to 30 per cent will have a devastating impact on theatrical releases.
The virtual Cannes Film Market is underway with a raft of titles driven by Australian talent being pitched to buyers either as pre-sales or completed films.
Arenamedia and a broad coalition of industry players have called on the Federal Government to create an Innovation Fund to support new and emerging talent and diverse creative voices.
In the 25 years since he graduated from the Australian Film Television and Radio School Robert Connolly has never been more excited about the future of the film industry.