‘Jirga’ won the Aacta for Best Indie Film.
Director Benjamin Gilmour’s Jirga took home the inaugural Aacta Award for Best Indie Film – designed to honour films made under $2 million – at the Aacta Industry Luncheon in Sydney yesterday.
The film, produced by John Maynard, beat out Strange Colours, Brothers’ Nest, West of Sunshine and The Second. Starring Sam Smith as a former Australian soldier who returns to Afghanistan seeking forgiveness, Jirga is also Australia’s submission for Best Foreign Language Film at the upcoming Academy Awards.
Some 35 awards were given away at yesterday’s Aacta event, hosted by actress Kat Stewart and comedian Nazeem Hussain. Other key feature film winners were Sweet Country and Ladies in Black, which each took home three gongs.
David Tranter and Steven McGregor won Best Original Screenplay for Sweet Country, while film’s director and Dop Warwick Thornton was honoured with the award for Best...
Director Benjamin Gilmour’s Jirga took home the inaugural Aacta Award for Best Indie Film – designed to honour films made under $2 million – at the Aacta Industry Luncheon in Sydney yesterday.
The film, produced by John Maynard, beat out Strange Colours, Brothers’ Nest, West of Sunshine and The Second. Starring Sam Smith as a former Australian soldier who returns to Afghanistan seeking forgiveness, Jirga is also Australia’s submission for Best Foreign Language Film at the upcoming Academy Awards.
Some 35 awards were given away at yesterday’s Aacta event, hosted by actress Kat Stewart and comedian Nazeem Hussain. Other key feature film winners were Sweet Country and Ladies in Black, which each took home three gongs.
David Tranter and Steven McGregor won Best Original Screenplay for Sweet Country, while film’s director and Dop Warwick Thornton was honoured with the award for Best...
- 12/3/2018
- by jkeast
- IF.com.au
‘Strange Colours’
Alena Lodkina’s Strange Colours and Jessica Leski’s documentary I Used to be Normal: A Boyband Fangirl Story opened on limited screens last weekend.
Not much store should be placed on ticket sales because both titles have already had a significant impact at Australian and international festivals and both have the upside of ancillary revenues and and foreign sales.
Indeed both have been very effective launching pads for their directors, fulfilling one of Screen Australia’s remits of funding films as a talent escalator, particularly for first-time filmmakers.
“It’s been a life-changing period for me,” Lodkina tells If. “Strange Colours has given me a lot of hope and energy and enabled me to form a lot of relationships during the production and distribution.
Co-written by Lodkina and producer Isaac Wall, who produced with Kate Laurie, the evocative drama follows Kate Cheel as Milena, who travels to...
Alena Lodkina’s Strange Colours and Jessica Leski’s documentary I Used to be Normal: A Boyband Fangirl Story opened on limited screens last weekend.
Not much store should be placed on ticket sales because both titles have already had a significant impact at Australian and international festivals and both have the upside of ancillary revenues and and foreign sales.
Indeed both have been very effective launching pads for their directors, fulfilling one of Screen Australia’s remits of funding films as a talent escalator, particularly for first-time filmmakers.
“It’s been a life-changing period for me,” Lodkina tells If. “Strange Colours has given me a lot of hope and energy and enabled me to form a lot of relationships during the production and distribution.
Co-written by Lodkina and producer Isaac Wall, who produced with Kate Laurie, the evocative drama follows Kate Cheel as Milena, who travels to...
- 11/26/2018
- by The IF Team
- IF.com.au
‘Strange Colours’.
Festival For Film’s Sake (Ffs) has expanded its focus to include the theatrical distribution of films from female filmmakers.
In partnership with Bonsai Films, Ffs will release Alena Lodkina’s Strange Colours in cinemas next week and Gabrielle Brady’s doco Island of the Hungry Ghosts in the first quarter of next year.
Of the decision to move into distribution, Ffs director Sophie Mathisen tells If that many of the films she had worked with through the female-focused festival were made independently and were yet to find a distributor. Often the filmmakers were unsure what to do with their films after their festival run was over. She believed with strategic investment, these films could find broader audiences.
“When you can see that most of the films that are in cinemas are directed and written by men, it creates this cultural vacuum where it makes female filmmakers feel more risky,...
Festival For Film’s Sake (Ffs) has expanded its focus to include the theatrical distribution of films from female filmmakers.
In partnership with Bonsai Films, Ffs will release Alena Lodkina’s Strange Colours in cinemas next week and Gabrielle Brady’s doco Island of the Hungry Ghosts in the first quarter of next year.
Of the decision to move into distribution, Ffs director Sophie Mathisen tells If that many of the films she had worked with through the female-focused festival were made independently and were yet to find a distributor. Often the filmmakers were unsure what to do with their films after their festival run was over. She believed with strategic investment, these films could find broader audiences.
“When you can see that most of the films that are in cinemas are directed and written by men, it creates this cultural vacuum where it makes female filmmakers feel more risky,...
- 11/14/2018
- by jkeast
- IF.com.au
Alena Lodkina: 'I think the night scenes are important because they evoke this hidden, half-sense of being lost' Alena Lodkina: 'I think the eastern European sensibility is probably ingrained in me, because I grew up with Russian cinema' Alena Lodkina’s Strange Colours is one of the three films to emerge from Venice Film Festival’s Biennale College this year, an initiative that helps filmmakers fund and develop their work. Set in an opal mining community in the Australian Outback, it tells the story of young woman Milena (Kate Cheel) and her attempts to reconnect with her estranged father (Daniel P Jones), while also striking up a friendship with younger miner Frank (Justin Courtin).
Although scripted – Lodkina wrote the story with Isaac Wall – the film has a strong documentary flavour, with the supporting cast made up by members of the Lightning Ridge community in New South Wales and...
Although scripted – Lodkina wrote the story with Isaac Wall – the film has a strong documentary flavour, with the supporting cast made up by members of the Lightning Ridge community in New South Wales and...
- 9/5/2017
- by Amber Wilkinson
- eyeforfilm.co.uk
The 2017 Venice Film Festival kicked off on August 30, and for anyone who can’t make it all the way to Italy this year, IndieWire has a solution for you. Between now and Thursday, September 7 at noon Et, IndieWire readers can register using this form to win one of 5 online festival passes, which will give you the opportunity to stream five Venice titles for free online. All of the streaming titles will be from this year’s Orizzonti competition (Horizons), Biennale College and a few other sections. The movies include the following titles:
Endangered Species, by Gilles Bourdos – Online on August 31
Under The Tree, by Hafsteinn Gunnar Sigurðsson – Online on August 31
Strange Colours, by Alena Lodkina – Online on August 31
West Of Sunshine, by Jason Raftopoulos – Online on September 1
Martyr, by Mazen Khaled – Online on September 1
Nato A Casal Di Principe, by Bruno Oliviero – Online on September 1
Beautiful Things, by Giorgio Ferrero – Online on September 2
No Date,...
Endangered Species, by Gilles Bourdos – Online on August 31
Under The Tree, by Hafsteinn Gunnar Sigurðsson – Online on August 31
Strange Colours, by Alena Lodkina – Online on August 31
West Of Sunshine, by Jason Raftopoulos – Online on September 1
Martyr, by Mazen Khaled – Online on September 1
Nato A Casal Di Principe, by Bruno Oliviero – Online on September 1
Beautiful Things, by Giorgio Ferrero – Online on September 2
No Date,...
- 8/31/2017
- by Jamie Righetti
- Indiewire
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