This episode is a little different from usual, as it features two interviews originally recorded for my radio segment on 2RRR and the Community Radio Network. I thought I’d also publish them here for your listening pleasure.
My first guest here is Dawn Jackson, a filmmaker from Perth whose new documentary Pointe: Dancing on a Knife’s Edge is currently touring Australia with a series of Q&A screenings.
Pointe: Dancing on a Knife’s Edge is a captivating and moving documentary about Australian dancer Floeur Alder, daughter of ballet luminaries Lucette Aldous AC and Alan Alder. At 22, just as she was about to embark on her European dance career, she survived a brutal stabbing by a stranger outside her home. While the physical wounds healed, the trauma stirred turbulent memories from her past, sparking a deeply personal quest to find her place in the dance world.
Dawn Jackson is an award-winning filmmaker and dancer passionate about social change through storytelling. Since completing her Master’s at the WA Screen Academy, specialising in directing, Dawn has been developing the feature documentary Pointe: Dancing on a Knife’s Edge, which recently won the inaugural Brian Beaton Award. She is also developing Caves House – Place of Love, an innovative social history documentary project, and Hush, a new dance/film work born out of an arts residency in the Arctic Circle. Dawn’s previous work includes the men’s mental health drama Fathom, which she directed and produced in 2017.
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If you’ve been following Cinema Australia for a while now, you’ll know that my next guest needs no introduction.
Davo has released a new feature film almost every second year since his debut, The Lives We Lead, in 2015. Since then, Davo’s filmography has included Hunting for Shadows, A Silent Agreement, The Blood of God, Public Eye, and The Switchblade Sisterhood.
Davo’s latest film, Mothers, Lovers and Others, follows the interweaving private lives and family dramas of several people who cross paths at an orgy.
Davo certainly has a signature style, and as I tell him in this interview, there’s no one else like him making movies in Australia today.
Anyway… enjoy.
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This episode is a little different from usual, as it features two interviews originally recorded for my radio segment on 2RRR and the Community Radio Network. I thought I’d also publish them here for your listening pleasure.
My first guest here is Dawn Jackson, a filmmaker from Perth whose new documentary Pointe: Dancing on a Knife’s Edge is currently touring Australia with a series of Q&A screenings.
Pointe: Dancing on a Knife’s Edge is a captivating and moving documentary about Australian dancer Floeur Alder, daughter of ballet luminaries Lucette Aldous AC and Alan Alder. At 22, just as she was about to embark on her European dance career, she survived a brutal stabbing by a stranger outside her home. While the physical wounds healed, the trauma stirred turbulent memories from her past, sparking a deeply personal quest to find her place in the dance world.
Dawn Jackson is an award-winning filmmaker and dancer passionate about social change through storytelling. Since completing her Master’s at the WA Screen Academy, specialising in directing, Dawn has been developing the feature documentary Pointe: Dancing on a Knife’s Edge, which recently won the inaugural Brian Beaton Award. She is also developing Caves House – Place of Love, an innovative social history documentary project, and Hush, a new dance/film work born out of an arts residency in the Arctic Circle. Dawn’s previous work includes the men’s mental health drama Fathom, which she directed and produced in 2017.
——
If you’ve been following Cinema Australia for a while now, you’ll know that my next guest needs no introduction.
Davo has released a new feature film almost every second year since his debut, The Lives We Lead, in 2015. Since then, Davo’s filmography has included Hunting for Shadows, A Silent Agreement, The Blood of God, Public Eye, and The Switchblade Sisterhood.
Davo’s latest film, Mothers, Lovers and Others, follows the interweaving private lives and family dramas of several people who cross paths at an orgy.
Davo certainly has a signature style, and as I tell him in this interview, there’s no one else like him making movies in Australia today.
Anyway… enjoy.
Heath Davis joins the latest episode of the Cinema Australia Podcast to discuss Christmess which he wrote, directed and co-produced.
If you keep up to date with the latest Australian film releases, you’ve no doubt heard about Christmess. It’s getting a lot of buzz at the moment with sold out screenings on the East Coast, upcoming screenings in Western Australia and Tasmania. There’s national media interest and you may have even spotted a digital billboard for the film on your way home from work.
If you’ve already attended one of the screenings, you would have heard Heath talk during a Q&A. He’s doing his best to travel around the country with the film which is admirable. This is a filmmaker who backs and believes in his work.
Heath is one of Australia’s most exciting filmmakers, and there are few filmmakers whose new films I anticipate more than his. If you haven’t seen Book Week, I highly recommend it. Heath’s other films include the crime thriller Locusts and Broke as well as a stack of shorts which have enjoyed success at Tribeca, Flickerfest, MIFF and more.
Christmess follows Chris (played by Steve Le Marquand), a once famous actor who now performs as a shopping centre Santa Claus after his alcohol addiction puts a pause on his acting career. After bumping into his estranged daughter, he seeks help for his recovery in order to win his daughter's forgiveness.
Christmess co-stars Middle Kids lead singer Hannah Joy in a breakout performance, and Darren Gilshenan in arguably the best performance of his esteemed career.
Put simply, Christmess is unmissable. It’s the perfect tonic to most of the mind-numbing Hollywood dross currently saturating mainstream cinemas. The Hunger Games Part 47… really?
More and more Christmess screenings are popping up daily, so be sure to follow Christmess on socials to find out where you can see it near you.
Anyway… enjoy.
Cinema Australia
This episode is a little different from usual, as it features two interviews originally recorded for my radio segment on 2RRR and the Community Radio Network. I thought I’d also publish them here for your listening pleasure.
My first guest here is Dawn Jackson, a filmmaker from Perth whose new documentary Pointe: Dancing on a Knife’s Edge is currently touring Australia with a series of Q&A screenings.
Pointe: Dancing on a Knife’s Edge is a captivating and moving documentary about Australian dancer Floeur Alder, daughter of ballet luminaries Lucette Aldous AC and Alan Alder. At 22, just as she was about to embark on her European dance career, she survived a brutal stabbing by a stranger outside her home. While the physical wounds healed, the trauma stirred turbulent memories from her past, sparking a deeply personal quest to find her place in the dance world.
Dawn Jackson is an award-winning filmmaker and dancer passionate about social change through storytelling. Since completing her Master’s at the WA Screen Academy, specialising in directing, Dawn has been developing the feature documentary Pointe: Dancing on a Knife’s Edge, which recently won the inaugural Brian Beaton Award. She is also developing Caves House – Place of Love, an innovative social history documentary project, and Hush, a new dance/film work born out of an arts residency in the Arctic Circle. Dawn’s previous work includes the men’s mental health drama Fathom, which she directed and produced in 2017.
——
If you’ve been following Cinema Australia for a while now, you’ll know that my next guest needs no introduction.
Davo has released a new feature film almost every second year since his debut, The Lives We Lead, in 2015. Since then, Davo’s filmography has included Hunting for Shadows, A Silent Agreement, The Blood of God, Public Eye, and The Switchblade Sisterhood.
Davo’s latest film, Mothers, Lovers and Others, follows the interweaving private lives and family dramas of several people who cross paths at an orgy.
Davo certainly has a signature style, and as I tell him in this interview, there’s no one else like him making movies in Australia today.
Anyway… enjoy.
