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.
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.
Most independent Australian distributors are doing it tough, forced to postpone releases while the exhibition business languishes with Victorian cinemas closed and seating capacity restricted in the rest of the country.
In this unprecedented, fractured year for Australian cinemas, finally enough Aussie films have been released to compile the top 10 titles.
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.
Eric Bana’s Pick Up Truck Pictures and Robert Connolly’s Arenamedia are teaming up on a feature about English Grand Prix motor racing champion Mike “The Bike” Hailwood.
Screen Australia's head of content Sally Caplan rates 2019 as a good year for Australian films at home and abroad - and she is even more optimistic about the 2020 slate.