Jake Wilson refuses to eat MUFF
August 26, 2009
Here is a link to Jake Wilson’s review of MUFF. See here.
Its his usual part hostile approach to it. But, its better than Adrian Martin’s purely hostile approach, I suppose…
He says our Open Letter doesn’t hold water but can’t really say why. His objections are clearly dealt with in the document itself. He also hardly gives us credit for being one of the few people who has the guts to say anything about the state of the OZ film industry. He’s too busy busy sipping latte’s with the likes of Michelle Carey, dullard, MIFF programmer and Senses of Cinema cultural gate keeper.
Here is my Facebook post on the matter currently stirring up debate. Will post some choice responses later…
“Jake Wilson being a semi cunt (again) as he continues in his eternal quest to be Adrian Martin. But, at least he covers the festival and he did program a MUFF section in the past, so he can’t be all bad! Haha. He also attempted to engage with th e Open Letter this year, which was nice, though he dismissed it. Last year’s Manifesto on Ontological cinema had him bamboozled… as he knows zero of Heidegger. Funny that!”
You put Jake Wilson into Google images and you get these two hits. That speaks louder than words…
The Prostitutes – A blast from the past
August 14, 2009
Here is an article sent to me by Kent Morris of the band The Prostitutes. The Prostitutes were am electronic industrial band from Melbourne in the late 80’s and early 90’s. Here is an interview I did with them when I was editor of Beat magazine back in 1990 and 1991.
The Moore/Loach MIFF funding controversy
August 12, 2009
An ad we ran in Beat…
And (just some of…) the debate at Facebook…
It defeats the purpose of free speech and articulating different apolitical viewpoints by banning or blacklisting individuals work or festivals themselves simply because their respective governments may or may not have partially financed it. Should Leni Reifenstal’s work be blacklisted because the Third Reich financed her work?Should AFI backed films be blacklisted by international festivals because of our governments stand on various issues?The focus should be on the film itself.… I can’t agree with you on this one Richard…but I defend your right to say it.
I don’t particularly care where the funding comes from..festivals should be APOLITICAL in their subject matter and not arbiters of cultural dialogue which Loach is demanding MIFF become.
Some accuse Australia of human rights abuses against our indigenous population and also refugees…does that justify the blacklisting of AFI funded projects?
I just don’t think it’s as black and white as your posture suggests . Your tone suggests you are very much inclined to accept Israel as state sponsored human rights abuser.
I ask you again…if the film in question was funded( or semi-funded) by the USA, Australia, Colombia, Nepal…etc.etc…would you maintain the same posture? A Hypothetical..but a valid one.
I can’t see what the problem is as you’re both excercising your rights as festival directors to accept funding based on individual opinion of issues. And in the mean time…film makers are used as political pawns.. this is what sits uncomfortable with me. Now if you were taking a swipe at Miff for their incestuous unimaginative programming then I’d be with you 110%
I don’t believe I’m wrong…I’m simply seeking clarification.
It seems what you’re essentially saying is that a festival director should only accept funding from countries which that festival director personally believes are not guilty of human rights abuses. It’s a completely subjective issue based on personal opinion, and as Liam said, one could easily view our country as being guilty of human rights abuses and would thus be obliged to refuse any Oz government funding. You’ve applied for Oz funding in the past, haven’t you?
All art is political, absolutely, but it doesn’t mean there are lines that perhaps shouldn’t be crossed.
Send ups of the Sydney Underground Directors
August 12, 2009
Well, I’m ticked off with SUFF (Sydney Underground Film Festival) director Stefan Popescu at present… again!
More, later on all this later…if I can be bothered relating it.
It seems some other people are ticked off as well. Here are two videos from some unknown filmmakers ( ….not me, really!), sending up the two SUFF directors, that someone pointed out to me at You Tube.
The Stefan one, is actually a little like the real person, dare I say it!
The MUFF X trailer
August 12, 2009
The Misogyny of Lars Von Trier’s AntiChrist
August 5, 2009
Just saw Von Trier’s AntiChrist, probably the greatest film about Misogyny ever made. The women (She) deforms and allows her own kid to fall from an apartment window, then cuts off her own clit after torturing her husband, when he finds out the truth about her psychotic ways. Don’t let film critic wankers over intellectualize this movie, the truth of AntiChrist is staring you right in the face. Von Trier is a deeply subversive reactionary…
Some of the fun chat from my facebook page:
Antichrist logo with the symbol for woman:
The following is going into the MUFF X catalogue (with maybe minor alterations). We will then be inviting people to sign it online at: muff.com.au and then we will send it to the various Ministers and funding bodies, etc. Thoughts? Suggestions? You have to Sunday night to make them…
An Open Letter on the State of the Australian Film Industry
Drafted by Australian filmmakers, industry practitioners and cinema-lovers
August 1, 2009
As members of the Australian film industry we can no longer sit idly by and watch our nation’s cinema continue to slide into critical and commercial obscurity. The Australian Government’s bureaucratic infrastructure is failing the Australian film industry, and it is unaccountable to anyone for its failure. It invites feedback, but does not listen to it, and thereby proves itself unaccountable. Its lack of response to criticism when change is so obviously needed and should be actioned is symptomatic of this unaccountability. We need new ideas for innovation, rebirth and vitality in the Australian film industry. We need to stand together, and be counted, in support of real change in the local film industry and culture, and to bring new ideas to bear on a system that has been out of control for many years.
We demand change in the Australian film industry. The changes we suggest are canvassed below.
The current, perpetual crisis in Australian film has been well documented by the Australian media. Much coverage has been afforded to the crisis on network television and in the country’s newspapers, most notably in The Age, whose film critic, the courageous Jim Schembri, has tackled the debate head on. The issue of industry failure has also been covered in alternative/grassroots venues and publications: the Melbourne and Sydney Underground Film Festivals, The Bazura Project on Melbourne’s Channel 31, the world-renowned cinema journal Senses of Cinema, and countless cinema blogs. Two independent documentary projects about the Australian film industry crisis are currently being produced: Into the Shadows and Nothing but the Struth. Last year, Film Victoria even held a summit on the crisis called Mindshift.
Needless to say, we have seen no actionable changes.
The industry crisis has also been the subject of much obloquy in private discussions, not only between filmmakers and industry insiders, but also among members of the general public; those people who, faced with the decision between seeing an American film at the cinema and an Australian one, will doubtless turn to their partner and say: “Better not risk it.” These people want change: they want a dynamic and exciting Australian film industry.
And we, the undersigned, think it is long overdue that we gave it to them.
Australian filmmakers, industry practitioners, cinema-goers, and the mainstream and underground media are all in agreement: there is major problem with our film industry that needs to be addressed at both state and federal levels.
The issues concerning what to do about the continuing failure of the Australian film industry have been hotly debated. From these debates a consensus for action has been forming over time, and its broad outline, and our demand that it be acknowledged and addressed, is the reason we have compiled this document.
We wish to outline twelve steps, like those of Alcoholic’s Anonymous or some other recovery program, to wean Australian filmmakers and the funding bodies off their addiction to unentertaining, uninteresting, unworthy movies. We insist on change in the Australian film industry: even if only six of these twelve steps were to be actioned, it could well lead to a Renaissance once again in Australian cinema, and not a continued fall from grace out of the world cinema spotlight and increasingly towards critical insignificance.
We make these suggestions humbly, and with the hope that it open channels for real discussion and actioning of these matters, that can follow the tabling and publishing of this document. We wish only to encourage, foster and make possible change in the Australian film industry.
Our demanded agenda for change is as follows:
1. Genre and Commercial Filmmaking. It is suggested that many, many more genre films be produced in this country; more, indeed, than sensitive, politically correct ‘art-house’ fare that has been force-fed to the public since the end of the 80’s. By genre we mean horror, action, sci-fi, crime, comedy and erotica. We believe that an embrace of genre filmmaking at the higher levels of film financing and government decision-making will see those who work within the Australia film industry embrace ideas of profitability and marketability, especially beyond our shores. We want a national and international cinema of genre that embraces commercial values and has distinct markets in mind for the product.
2. Accountability. For to long in the Australian film industry the people who make the decisions for the yearly flops and failures are not in any way held accountable for their failures. There exists a professional class who somehow consider themselves beyond the failure or not of our film industry. Given that they purely exist at the behest of our national cinema, this situation should be promptly corrected. The names of board and committee members behind funding decisions should be added to the credits of government-funded films, listed there as either executive producers or, even better, precisely what they are: the persons responsible. That way, massive flops and errors can be publicly traced to their source. Similarly, ongoing reviews of the decision-making standards of the various boards and committees should be initiated. The same accountability should be applied to failed directors and producers who haven’t had a hit since the 80’s.
3. Supporting the alternative industry. The most popular and successful Australian films are very often those that no one in Australia sees. They are privately funded and tend towards either low-budget Ozploitation filmmaking or difficult experimental, avant-garde and documentary work. These films are confronting, both locally and internationally. A new fund to support such already-established and emerging independent talent is required. It is necessary to reward that which is daring, confrontational and relevant. Rethinking and rebooting Indivision with a much more daring brief, state and federal funding bodies must combine in their efforts to establish a $5 million fund. This fund should make seven to ten $500,000-$1 million features per annum, selected by a regularly rotating board of Ozploitation, industry and genre luminaries. Australia could produce eight to ten new low-budget features yearly, with that number to expand as their commercial success becomes self-evident. The aim? To get new blood into the film industry each year. While not all of these films will work, many will. Not all will have to be Ozploitation. Indeed, some should be avant-garde works and more challenging art films than are currently produced. From The Horseman to The Ister, anything is possible. We must turn work around quickly and cheaply with an ear to being inventive and innovative.
4. Reward talent and success. Any filmmaker who enjoys a commercial or critical hit should immediately receive funding for their next project, which is to be produced within twelve months. The budget for this second film must be significantly higher. The era of successful filmmakers languishing in development hell for a decade must end.
5. More money invested in the promotion of Australian films. The establishment of an office within Screen Australia that will promote Australian films both locally and internationally is required.
6. An end to political correctness and “Australian content” prerequisites and biases in both the industry and in funding bodies.
7. A celebration of the diversity of techniques available to filmmakers. From low budget guerrilla films to large budget and special effects movies, all film forms musts be celebrated.
8. A change in industry methodology. There needs to be a cultural shift within the funding bodies that sees them move away from their currently prescriptive role to one of discovery. Instead of imposing upon the industry their own prejudices and biases, both about cinema and otherwise, film finance bureaucrats must learn to search for new ideas, styles, marketing and distribution opportunities; learn to recognise innovation; learn to celebrate diversity by allowing for a slate of pictures than embrace all budgets, genres and approaches.
9. Getting distributors involved in the process of selection and approval for new productions. This is key and would be greatly assisted by provisions making in necessary to devote part of a film’s budget to be spent on helping to promote Australian cinema more broadly.
Signed
Richard Wolstencroft
and…
And then there was Uganda
June 25, 2009
Sorry if Idea Fix has been a little spare in recent weeks. Been busy as a lizard drinking putting togerher MUFF 10’s Poster and catalogue and prepping a two week trip early July to Uganda.
Yes, Richard Wolstencroft is going into Africa. And I’m told I will have net access, so stand by for a travel diary here at Idea Fix.
I am shooting a documentary, more on this later, and this will be a unique experience for me. I have had my vac shots, I have got my anti malarials and I’m ready to journey into the heart of the mysterious and at times dangerous continent of Africa. Uganda has always fascinated me since I idealized Idi Amin as a child. Here was a strong black leader standing up to the West. There was something wonderful about that. I found Amin a charismatic and fascinating media presence. I knew nothing of the atrocities until I grew older, but Uganda’s past will hopefully find its way into this new project.
More details on all this later…
Until then a map of Uganda to look at. Former homeland of aforementioned Idi Amin and location for conflict in the past 20 years between the democratic current government of Museveni and The Lords Resistance Army in the North lead by Joseph Kony. We land at Entebbe airport in under two weeks.
I will put MUFF in place before I go… and then away we go! Oh, I will write my directors statement for MUFF X from Uganda, so that’s bound to be a treat…
I welcome any thoughts and advice on travel to Uganda and Africa. Cheers RW
Samson Delilahed
June 25, 2009
Saw Warwick Thornton’s Samson and Delilah recently, 30 people in cinema as opposed to 1 (me) the week before for the shithouse My Year Without Sex (see note below).
Samson and Delilah is about as good a film as one can make about Aboriginal petrol sniffing, and the hopeless situation of many rural original Australians …it is uncompromising and brutal at times, to its credit. The direction is slow, ontological and assured. This close to the truth account of rural Indigenous Australia is long overdue and for that reason alone is an important film, as Jim Schembri noted on his blog here.
I couldn’t help thinking this is the real Australia…not Baz Luhrmnan’s glitzy camp fantasia.
The subjects it deals with are real and the film has a nice existential style in presenting them. There are even more serious issues like indigenous child sex abuse and white rape squads that drive up North, that are not really dealt with here. Though, a rape does happen off camera, and is very powerfully done (same the car accident – brilliant). There is also teen abuse with sticks in the Aboriginal ghetto. So, all in all it covers many issues…It’s brave and daring for all this…
But neither is it the whole picture, but I guess it need not be, of course.
But, I do think most Euro Aussies are aware of the raping and pillaging our ancestors have done to obtain this land, sorry or no, and that we have a duty of care to its original inhabitants. I think the Australian Aboriginals are connected to the land here by a strong and mystical bond of ‘blood and soil’. I’m interested, as a radical political trouble maker, in the notion of returning part of Australia to Aboriginal self-rule…say part of Northern Territory, WA or Qld? But until that happens White Australia is aware of many problems shown here and in the cities at least we have addressed some problems and at times provide ample social security to try and remedy them. But the rural problem is a harder nut to crack. I’d say working with community elders and a more aggressive program of action and cross community based initiatives could supply further hope…
This film raises these issues and portrays white Australia as being totally oblivious to Aborigines, which to some extent it is, but not entirely. This later accusation is a bit one sided, and dare I say it unfair…
Overall Samson and Delilah is an important film, though, a rather depressing one for most of its length… and it may only preach only to the converted too, i.e., those who care about Aboriginal issues. The film ends well, I thought, which was needed. Overall I can’t help but feel it’s is a little overrated due to its Cannes win, but its a very strong Oz film about an important subject well worth your attention…
NOTE on My Year Without Sex (Not worth a review). …As I mentioned I saw Sarah Watt’s My Year Without Sex…this film is a microcosm of everything I hate about the Australian Film Industry…ugly people, mundane lives, Kitchen Sink dull story lines. Its like the film is made by various government departments like Department of Health, Taxation, Gambling, Communications, etc. It’s sickeningly PC at times and filled with every film school type cliché added to condescending and shallow lectures on religion, rich vs poor, sexism in billboards, et al., that are so passé it’s beyond a joke. And aneurysm is hardly a hot and exciting topic to centre a film around. Saturday night lets see a film on aneurysm! Yeah!!! For 15 bucks a head… and lets take our friends… NOT! It’s a pretty bad effort all round from (so called) Oz film industry darling Sarah Watt… and the results speak for themselves at the box office. Will probably win all the AFI’s though, of course, given all this…
District 9’s alien xenophobia
June 18, 2009
New film from Peter Jackson (Producing) and some South African guy called Neil Blomkamp. Looks to be a rather tasty motion picture parable about xenophobia, only the immigrants are aliens. Cool. Very Cool.
