The Australian drama premiered at Cannes and stars Cate Blanchett.
Warwick Thornton’s The New Boy leads the nominations for the 2024 Aacta (Australian Academy of Cinema and Television Arts) Awards with 12 nods, closely followed by horror Talk To Me with 11 nominations.
The New Boy is up for best film, actress for Cate Blanchett and actor for newcomer Aswan Reid while Australian Indigenous filmmaker Thornton is nominated for best director, screenplay and cinematography.
The film is set in 1940s Australia and stars Blanchett (who also serves as a producer) as a nun who takes in a nine-year-old Aboriginal orphan boy. It...
Warwick Thornton’s The New Boy leads the nominations for the 2024 Aacta (Australian Academy of Cinema and Television Arts) Awards with 12 nods, closely followed by horror Talk To Me with 11 nominations.
The New Boy is up for best film, actress for Cate Blanchett and actor for newcomer Aswan Reid while Australian Indigenous filmmaker Thornton is nominated for best director, screenplay and cinematography.
The film is set in 1940s Australia and stars Blanchett (who also serves as a producer) as a nun who takes in a nine-year-old Aboriginal orphan boy. It...
- 12/11/2023
- by Michael Rosser
- ScreenDaily
The editors behind Nitram, I Met A Girl, The Furnace and June Again will compete for this year’s Ellie Award for Best Editing in Feature Drama, while the television drama category will be a contest between those who cut Wakefield, The Tailings, Jack Irish, Eden and Bump.
The annual awards of the Australian Screen Editors (Ase) will be held in early February with the hope that travel restrictions between states will have eased.
“It’s been a tough two years and we think we all deserve to be together in person to celebrate these fine achievements in editing, and the results of everybody’s hard work during such difficult times,” Ase president Danielle Boesenberg tells If.
In addition to the feature film prize, I Met A Girl editor Melanie Annan will also be in contention for Best Editing in Documentary and Series for Three Songs for Benazir, shared with Christoph Wermke.
The annual awards of the Australian Screen Editors (Ase) will be held in early February with the hope that travel restrictions between states will have eased.
“It’s been a tough two years and we think we all deserve to be together in person to celebrate these fine achievements in editing, and the results of everybody’s hard work during such difficult times,” Ase president Danielle Boesenberg tells If.
In addition to the feature film prize, I Met A Girl editor Melanie Annan will also be in contention for Best Editing in Documentary and Series for Three Songs for Benazir, shared with Christoph Wermke.
- 11/1/2021
- by Staff Writer
- IF.com.au
Documentary Lion Spy follows Australian filmmaker Rogue Rubin as she is thrown into action to prevent the extinction of wild lions in Africa. Creating a false identity to portray herself as a “big game photographer and video intern”, Rogue infiltrates the male dominated world of trophy hunters in Africa, putting herself at tremendous personal risk. As she explores clandestine operations, alone with men and guns, amidst the isolated African plains, she realises that if she is found out that she will be killed.
Directed, written and produced by Rubin, with producer David Gross, co-producer and editor by Katie Flaxman, and composer Brett Rosenberg.
Lion Spy will be in cinemas November 24 via Pivot Pictures.
The post ‘Lion Spy’ (Trailer) appeared first on If Magazine.
Directed, written and produced by Rubin, with producer David Gross, co-producer and editor by Katie Flaxman, and composer Brett Rosenberg.
Lion Spy will be in cinemas November 24 via Pivot Pictures.
The post ‘Lion Spy’ (Trailer) appeared first on If Magazine.
- 10/18/2021
- by The IF Team
- IF.com.au
Andy Canny scooped Best Editing in a Feature Drama for The Invisible Man at the 2020 Ellie Awards yesterday, backing up his recent Aacta win.
Geoff Lamb took home Best Editing in Drama for The Commons, and Deborah Peart Best Editing in Comedy for Upright.
The annual awards, presented by Australian Screen Editors (Ase), were held online this year due to Covid, hosted by comedian Steph Tisdell.
In addition to the celebrations, the event also saw Ase president Fiona Strain announce after five years at the helm that she will be handing the reins to vice-president Danielle Boesenberg from February.
“She has been a calm, intelligent presence in the executive committee and will bring thoughtfulness and a commitment to diversity as we serve a very wide a range of members from students through assistants and others who have been in the industry over 40 years,” Strain told If.
In her speech at the event,...
Geoff Lamb took home Best Editing in Drama for The Commons, and Deborah Peart Best Editing in Comedy for Upright.
The annual awards, presented by Australian Screen Editors (Ase), were held online this year due to Covid, hosted by comedian Steph Tisdell.
In addition to the celebrations, the event also saw Ase president Fiona Strain announce after five years at the helm that she will be handing the reins to vice-president Danielle Boesenberg from February.
“She has been a calm, intelligent presence in the executive committee and will bring thoughtfulness and a commitment to diversity as we serve a very wide a range of members from students through assistants and others who have been in the industry over 40 years,” Strain told If.
In her speech at the event,...
- 12/7/2020
- by Jackie Keast
- IF.com.au
Review by Mark Longden
Although I’d be unlikely to say this about any other sub-genres, “family turns off road onto dirt track” movies feel a little played-out, like “seen one, seem them all” . A surprising thing to say about a genre with entries as varied as “Manos: The Hands Of Fate” and “The Evil Dead”, perhaps, but no less true; which is why it’s especially nice to see someone come up with a fascinating new twist on the genre, as first-time feature director Damien Power has done with Killing Ground.
Ian (Ian Meadows) and his girlfriend Sam (Harriet Dyer) are off for a weekend’s camping. Stopping at a bar to buy champagne and beer – he’s celebrating graduating from medical school – they meet German (Aaron Pederson), who looks like your stereotypical backwoods lunatic but is actually surprisingly helpful. When they arrive at the idyll-ish campsite, they see...
Although I’d be unlikely to say this about any other sub-genres, “family turns off road onto dirt track” movies feel a little played-out, like “seen one, seem them all” . A surprising thing to say about a genre with entries as varied as “Manos: The Hands Of Fate” and “The Evil Dead”, perhaps, but no less true; which is why it’s especially nice to see someone come up with a fascinating new twist on the genre, as first-time feature director Damien Power has done with Killing Ground.
Ian (Ian Meadows) and his girlfriend Sam (Harriet Dyer) are off for a weekend’s camping. Stopping at a bar to buy champagne and beer – he’s celebrating graduating from medical school – they meet German (Aaron Pederson), who looks like your stereotypical backwoods lunatic but is actually surprisingly helpful. When they arrive at the idyll-ish campsite, they see...
- 7/17/2017
- by Movie Geeks
- WeAreMovieGeeks.com
Author: Steven Neish
It is often joked that in Australia everything wants to kill you, but while the vast majority are probably referring to the famously dangerous wildlife world cineastes are likely to be just as cautious of the people who live there. From Animal Kingdom to Wolf Creek, Snowtown to The Loved One, it seems as though you can’t trust your neighbours down under after all. Tasmanian writer-director Damien Power isn’t likely to change that with his debut feature, a blisteringly brutal horror thriller that will have you crossing out another Australian beauty spot and leaving your camping equipment behind.
It’s New Year’s Eve in the Australian outback, and Ian (Ian Meadows) is determined to spend the night with Sam (Harriet Dyer) a fondly remembered falls from his youth, despite the protestations of a local redneck (Aaron Pedersen as German) who insists that there is...
It is often joked that in Australia everything wants to kill you, but while the vast majority are probably referring to the famously dangerous wildlife world cineastes are likely to be just as cautious of the people who live there. From Animal Kingdom to Wolf Creek, Snowtown to The Loved One, it seems as though you can’t trust your neighbours down under after all. Tasmanian writer-director Damien Power isn’t likely to change that with his debut feature, a blisteringly brutal horror thriller that will have you crossing out another Australian beauty spot and leaving your camping equipment behind.
It’s New Year’s Eve in the Australian outback, and Ian (Ian Meadows) is determined to spend the night with Sam (Harriet Dyer) a fondly remembered falls from his youth, despite the protestations of a local redneck (Aaron Pedersen as German) who insists that there is...
- 6/27/2017
- by Steven Neish
- HeyUGuys.co.uk
Katie Flaxman has edited 35 shorts, TV series, fiction films and documentaries in the past 12 years. Her most recent feature, Killing Ground, made its U.S. premiere at the Sundance Film Festival earlier this week. A violent thriller from director Damien Power, the film tells the story of a nightmarish camping trip in the Australian woods. Below, Flaxman discusses the film’s non-linear structure, her techniques for “storyboarding” a film in the editing suite and the importance of Pov in thrillers. Filmmaker: How and why did you wind up being the editor of your film? What were the factors and attributes that […]...
- 1/22/2017
- by Filmmaker Staff
- Filmmaker Magazine - Blog
Writer/director Damien Power’s Killing Ground may tread some seemingly familiar territory in terms of its overall approach to survival horror—a young couple dealing with deadly backcountry predators on their idyllic getaway is certainly something fans have seen before. But make no mistake, what seems like a pretty standard set-up in Killing Ground evolves viciously into an unexpected game of cat and mouse, and Powers does a brilliant job of both embracing and deconstructing the genre tropes at play in his horrifically savage thriller.
At the start of Killing Ground, we meet young couple Ian (Ian Meadows) and Sam (Harriet Dyer), who are heading out to an Australian campground in the bushland to celebrate their New Year’s holiday and find some time for a little romance. When they arrive, they notice another campsite in the area, but decide to go on about their business, independently celebrating the arrival of a new year.
At the start of Killing Ground, we meet young couple Ian (Ian Meadows) and Sam (Harriet Dyer), who are heading out to an Australian campground in the bushland to celebrate their New Year’s holiday and find some time for a little romance. When they arrive, they notice another campsite in the area, but decide to go on about their business, independently celebrating the arrival of a new year.
- 1/21/2017
- by Heather Wixson
- DailyDead
The Australian Screen Editors’ Guild has added a new category to include online and new content streams to its awards night and announced the nominees for the 2012 Ase Awards.
The announcement:
The Australian Screen Editors’ (Ase) Guild is dedicated to the pursuit and recognition of excellence in screen editing across all its forms. It aims to highlight the often invisible art of editing to the public while supporting the people who construct our screen narratives frame by frame.
In 2012 the Ase expanded its activities by opening a new Committee in Brisbane, growing the membership base already established in Sydney, Melbourne, Perth and Adelaide, and expanding its year-round program of seminars, screenings, masterclasses, training days and mentorships. This year the Ase also celebrated its 10th anniversary of Accreditation, the highest honour the Guild can bestow on an editor.
The culmination of the Guild’s year happens at the annual Ase Awards,...
The announcement:
The Australian Screen Editors’ (Ase) Guild is dedicated to the pursuit and recognition of excellence in screen editing across all its forms. It aims to highlight the often invisible art of editing to the public while supporting the people who construct our screen narratives frame by frame.
In 2012 the Ase expanded its activities by opening a new Committee in Brisbane, growing the membership base already established in Sydney, Melbourne, Perth and Adelaide, and expanding its year-round program of seminars, screenings, masterclasses, training days and mentorships. This year the Ase also celebrated its 10th anniversary of Accreditation, the highest honour the Guild can bestow on an editor.
The culmination of the Guild’s year happens at the annual Ase Awards,...
- 11/14/2012
- by Colin Delaney
- Encore Magazine
A film set during the 1974 Turkish innovation of Cyprus has won Flickerfest’s Best Australian Short Film.
It marked a successful day for the film, which also won best screenplay for a short film, and best fiction short film at the Australian Academy Cinema Television Arts (AACTAs) earlier in the day.
The Palace, written and directed by Anthony Maras and produced by Maras, Kate Croser, and Andros Achilleos won took out the local competition at the Festival, now in its 21 year.
In The Palace a Cypriot family takes refuge in an abandoned Ottoman era palace as the Turkish forces advance. A young Turkish conscript games face to face with the family and confronted with the brutality of war.
The film has previously won best short film at both the Melbourne and Sydney Film Festivals and the audience award at Adelaide Film Festival.
The special Jury Award went to the film Julian,...
It marked a successful day for the film, which also won best screenplay for a short film, and best fiction short film at the Australian Academy Cinema Television Arts (AACTAs) earlier in the day.
The Palace, written and directed by Anthony Maras and produced by Maras, Kate Croser, and Andros Achilleos won took out the local competition at the Festival, now in its 21 year.
In The Palace a Cypriot family takes refuge in an abandoned Ottoman era palace as the Turkish forces advance. A young Turkish conscript games face to face with the family and confronted with the brutality of war.
The film has previously won best short film at both the Melbourne and Sydney Film Festivals and the audience award at Adelaide Film Festival.
The special Jury Award went to the film Julian,...
- 1/16/2012
- by Colin Delaney
- Encore Magazine
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