/previous editions/winter 2016
/award winners winter 2016
Best Narrative Feature Film: Radical (Israel) by Omer Reis. The murder of a mysterious woman unfolds the brutal story of an Israeli radical group, the tycoon they are hunting for, and two crooked cops that are stuck in between.
Best Documentary Feature Film: Tomorrow's Power (Canada) by Amy Miller. Tomorrow’s Power showcases three communities from around the world, in Gaza, Colombia and Germany, and their responses to the environmental and economical crises they face.
Best Narrative Short Film: Alone (Australia) by Nicolas Dunn. A wayward loner. A solitary runaway. A common desire to be alone, and to share that loneliness with someone else. Loneliness is hard, it's good to be alone.
Best Documentary Short Film: Missing Piece (United States) by Tim Guthrie. Simultaneously a portrait and a self-portrait. My journey to pay homage to my wife, who died a year ago; the missing piece in my life.
Best Animated Short Film: Patrioska (Portugal) by Tiago Araujo. Five deities of power gather in an underground lair to discuss major themes about world domination and status-quo: Mr. Tactus, Mr. Olfactus, Mr. Paladaris, Mr. Auditivus and the head of the assembly, Mr. Visionarius. Visionarius has machiavellian prospects for the future of mankind, but he is warned by the Angel Auditivus about the spiritual awakening present in some avenues of Western society.
Best Experimental Film: Supernatural (Spain) by Juan Figueroa. An old bullfighter closes his eyes and walks in the dark towards his inner bull. An old bullfighter is getting ready to fight his last bull. Some paths can only be taken alone and in silence. "Supernatural" is a journey to the Last Coast. An expedition without return. A "road movie" by interior states of consciousness: guilt, grief, dream, faith, loneliness, transcendence. The film is a dialogue on the shores of death. Nobody really knows what happens in each image. Time happens.
Best Australian Cinema Now: The Future Is Not What It Used To Be by Stanton Cornish-Ward. Based on her honours research project on speculative fashion design, ‘The Future Is Not What It Used To Be’ is a hypothetical look into a future scenario where defunct rundown commercial airliners are romanticised, and a subculture that derives it’s dress from old airline paraphernalia and fixtures is in-fight. The film follows a group of friends devoted to this subculture and uses fashion film as a device to further explore key concepts the collection by the same name. An underlying feeling of dissociation and isolation runs throughout the film, as well as a heavy feeling of ‘faux’ nostalgia. The film explores the ideas of belonging to a group, and how holding your identity within a subculture can be a fine line between self-expression and self-deception.
/official selection winter 2016
A Pearl of the Revolution (Not Specified) by Michael Brims
Namour (United States) by Heidi Saman
Voices From Kaw Thoo Lei (United States) by Martha Gorzycki
Gymnast (Greece) by Glen MacKay
Asmad (me) (India) by Prabhjit Dhamija
Conscious (Australia) by David Collier
French Fries (Germany) by Luzie Loose
Bearable (United Kingdom) by David James Holloway
Crude (United States) by sion ribeiro joseph
Daydreaming (Australia) by oliver marsden
Inner Me (Italy) by Antonio Spanò
Tricks (Australia) by Melina Maraki
5639 (Australia) by Justin Latimer
It's Darker Before Dawn (Brazil) by Thiago Luciano
The Devil and the Holy Water (Finland) by Laura Meriläinen
Paul is here (Belgium) by Valentina Maurel
Comeback WOOL E (India) by Sumanta Ghosh
A Way Back (Australia) by Alan King
Parable (United States) by Diana Rodriguez
My Name is Grace (Australia) by Jade Chamberlain
Immental (United Kingdom) by Marcus Lee
Raw Almonds (Spain) by Pedro Valdeolmillos
Hannah's Semiology - Posing as Human (Taiwan) by Ching-Yu Yang
The Barber's Cut (United Kingdom) by Mark Brocking
I'm Sixteen (United Kingdom) by Emilio Boutros
Summers Gone (Canada) by Teddy Edwards
Unpopular Man (China) by Shu Leng
Another Planet (Australia) by Dina Grinberg
Paper Bird (Republic of Korea) by Yu Kyung
Greed (Australia) by Matt Bissett-Johnson
Fish Tank (China) by Haoge Liu
Motherland (United Kingdom) by Jason Hreno
Radical (Israel) by Omer Reis (Best Narrative Feature Film)
The Lovely Rejects (United States) by Judy Phu
Legends of the Casbah (South Africa) by Riason Naidoo, Damon Heatlie
Singularity (United States) by Aditya Patwardhan
Women Prayed and Preyed Upon (India) by Kankana Chakraborty
Where We Live (Australia) by Jesse Richards
Save Mom - ALSO in Africa (Denmark) by Thomas Fink
Hit by a Falling Baby (United States) by Zheng Fu
Touch of an Angel (Poland) by Marek Tomasz Pawlowski
You and I Remain (United States) by Kate McCabe
Curanderismo (United Kingdom) by Sam W. McFadden
Patrioska (Portugal) by Tiago Araújo (Best Animated Short Film)
He Is Vampire (United States) by Cameron Stetz
Linefork (2017) (United States) by Jeff Silva, Vic Rawlings
Composto (Brazil) by Severino neto / Rafael de Carvalho
Hibernation (Hong Kong) by Luo Yujing
A Hero for a Day (United States) by Lifan Wang
The Adventures of an Aspiring Rockstar (United Kingdom) by Sam Oldmeadow
Supernatural (Spain) by Juan Figueroa (Best Experimental Film)
Rattle (United States) by Laura Iancu
Good Dog (Australia) by Tim Cant
Peach (Australia) by Richard Hall
Good News in a Parched Land (Australia) by Stuart Harris
NG83 - When We Were B Boys (United Kingdom) by Claude Knight, Luke Scott, Sam Derby-Cooper
Tomorrow's Power (Canada) by Amy Miller (Best Documentary Feature Film)
For Stacey (Australia) by Oriel Guthrie
Missing Piece (United States) by Tim Guthrie (Best Documentary Short Film)
Hook Shot Girl (Spain) by Raquel Barrera Sutorra
Alone (Australia) by Nicolas Dunn (Best Narrative Short Film)
The Future Is Not What It Used To Be (Australia) by Stanton Cornish-Ward (Best Australian Cinema Now)
Nanny Culture (United Arab Emirates) by Paul James Driscoll
One Day Without Gravity (Brazil) by Julio Secchin
Eva (Australia) by Laurence Rosier Staines
Real Estate (Australia) by Laurence Rosier Staines
Black Rat (Australia) by Perry Lam
Nose (United Kingdom) by Mitch Vancouver
