Stars: Cassandra Magrath, John Voce, Nicholas Denton, Nikola Dubois, Lee Mason | Written by Darren Markey | Directed by Kate Whitbread
Filmed and released in its native Australia as The Unlit, Witches of Blackwood is a slow-burning tale of family secrets and dark heritages. How does writer Darren Markey and director Kate Whitbread’s (Surviving Georgia) addition to the current folk horror revival compare to other recent additions like The Last Thing Mary Saw and The Righteous? Is it at least better than Hellbender?
Claire is a cop. She’s currently on suspension pending the results of an investigation of a suicide that happened in her presence. A call from her Uncle Cliff (John Voce; Primeval) with news of another death brings her back to her hometown of Blackwood.
Blackwood is a beautiful looking town, but its streets seem deserted. Indeed some old letters she finds at her late father’s farm talk of people,...
Filmed and released in its native Australia as The Unlit, Witches of Blackwood is a slow-burning tale of family secrets and dark heritages. How does writer Darren Markey and director Kate Whitbread’s (Surviving Georgia) addition to the current folk horror revival compare to other recent additions like The Last Thing Mary Saw and The Righteous? Is it at least better than Hellbender?
Claire is a cop. She’s currently on suspension pending the results of an investigation of a suicide that happened in her presence. A call from her Uncle Cliff (John Voce; Primeval) with news of another death brings her back to her hometown of Blackwood.
Blackwood is a beautiful looking town, but its streets seem deserted. Indeed some old letters she finds at her late father’s farm talk of people,...
- 9/17/2021
- by Jim Morazzini
- Nerdly
NBCUniversal’s Joe Exotic series will carry an Australian flavour that goes beyond its Queensland shoot.
Aussie actors Will McNeill (Rams), Jack Scott (Hardball), Nic English (The Tailings), Benedict Hardie (The Invisible Man), Shereena Clanton (Wentworth), Alexandra Jensen (My Life is Murder), Anthony J. Sharpe (Miss Fisher & the Crypt of Tears) and Aliandra Calabrese (Perfect Messy Love) have been added to the supporting cast for the production, which is currently filming.
The series will feature English as the titular character’s first husband Brian Rhyne; Scott as Exotic’s political campaign manager Joshua Dial; Calabrese as Lauren Lowe; Jenson as Exotic’s niece Chealsi; Hardie as Agent Thomas; Sharpe as zookeeper Erik Cowie; McNeill as Big Cat Rescue volunteer Tyler; and Clanton as Susan.
It comes after the earlier announcement of fellow Aussie Marlo Kelly as Carole Baskin’s daughter Jamie Murdock.
They join the likes of Kate McKinnon,...
Aussie actors Will McNeill (Rams), Jack Scott (Hardball), Nic English (The Tailings), Benedict Hardie (The Invisible Man), Shereena Clanton (Wentworth), Alexandra Jensen (My Life is Murder), Anthony J. Sharpe (Miss Fisher & the Crypt of Tears) and Aliandra Calabrese (Perfect Messy Love) have been added to the supporting cast for the production, which is currently filming.
The series will feature English as the titular character’s first husband Brian Rhyne; Scott as Exotic’s political campaign manager Joshua Dial; Calabrese as Lauren Lowe; Jenson as Exotic’s niece Chealsi; Hardie as Agent Thomas; Sharpe as zookeeper Erik Cowie; McNeill as Big Cat Rescue volunteer Tyler; and Clanton as Susan.
It comes after the earlier announcement of fellow Aussie Marlo Kelly as Carole Baskin’s daughter Jamie Murdock.
They join the likes of Kate McKinnon,...
- 9/8/2021
- by Sean Slatter
- IF.com.au
The experience of going to the movies remains “robust and durable” following a challenging year for the Australian box office, according to the Motion Picture Distributors Association of Australia (Mpdaa).
New data from the organisation shows how the unprecedented pandemic climate impacted last year’s Bo earnings, with the annual total of $401 million reflecting an almost 70 per cent decline from the 2019 takings of $1.2 billion.
A strong January period – during which takings rose 9 per cent from the corresponding time in 2019 – preceded the outbreak of the Covid-19 virus in March and the resulting forced cinema closures, capacity restrictions, postponement of film releases, and public health concerns about attending theatres.
The 39 Australian films released last year grossed $22.6m in 2020, with Leigh Whannell’s The Invisible Man earning more than $9 million followed by Jeremy Sims’ Rams, which took in $4.4 million and is still screening.
Tony Tilse’s Miss Fisher and the Crypt of Tears...
New data from the organisation shows how the unprecedented pandemic climate impacted last year’s Bo earnings, with the annual total of $401 million reflecting an almost 70 per cent decline from the 2019 takings of $1.2 billion.
A strong January period – during which takings rose 9 per cent from the corresponding time in 2019 – preceded the outbreak of the Covid-19 virus in March and the resulting forced cinema closures, capacity restrictions, postponement of film releases, and public health concerns about attending theatres.
The 39 Australian films released last year grossed $22.6m in 2020, with Leigh Whannell’s The Invisible Man earning more than $9 million followed by Jeremy Sims’ Rams, which took in $4.4 million and is still screening.
Tony Tilse’s Miss Fisher and the Crypt of Tears...
- 1/28/2021
- by Sean Slatter
- IF.com.au
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The holiday season seemed to skip from Halloween to Christmas quickly this year, but that’s okay — it just means you have more time to get your loved ones some fun, day-brightening gifts. We’ve rounded up plenty of film- and TV-related items, from books and box sets to accessories and makeup, for the pop culture fans in your life. Read on for our suggestions below.
Lego Star Wars Advent Calendar Buy: $29.97 Buy it
Make the younglings in your life happy with this Lego Star Wars-themed Advent Calendar. Technically, it’s one...
Products featured are independently selected by our editorial team and we may earn a commission from purchases made from our links.
The holiday season seemed to skip from Halloween to Christmas quickly this year, but that’s okay — it just means you have more time to get your loved ones some fun, day-brightening gifts. We’ve rounded up plenty of film- and TV-related items, from books and box sets to accessories and makeup, for the pop culture fans in your life. Read on for our suggestions below.
Lego Star Wars Advent Calendar Buy: $29.97 Buy it
Make the younglings in your life happy with this Lego Star Wars-themed Advent Calendar. Technically, it’s one...
- 11/10/2020
- by Jean Bentley
- Indiewire
‘The Invisible Man.’
In this unprecedented, fractured year for Australian cinemas, finally enough Aussie films have been released to compile the top 10 titles.
In the chart from the Motion Picture Distributors Association of Australia, the contrast between the pre-covid-19 releases and those that entered the market after cinemas re-opened, could not be starker.
Arguably the $15.03 million total would have been somewhat higher had Natalie Erika James’ Relic , Unjoo Moon’s I Am Woman and Dean Murphy’s The Very Excellent Mr Dundee not gone straight to Stan or Amazon Prime.
In addition, early digital releases including Ben Lawrence’s Hearts and Bones, Maziar Lahooti’s Below and Kriv Stenders’ Brock: Over the Top deprived audiences of the chance to see them in the optimum way.
The closure of Victorian cinemas, the lack of major new releases and limits on sessions and seating capacity could mean a grim outlook for cinemas,...
In this unprecedented, fractured year for Australian cinemas, finally enough Aussie films have been released to compile the top 10 titles.
In the chart from the Motion Picture Distributors Association of Australia, the contrast between the pre-covid-19 releases and those that entered the market after cinemas re-opened, could not be starker.
Arguably the $15.03 million total would have been somewhat higher had Natalie Erika James’ Relic , Unjoo Moon’s I Am Woman and Dean Murphy’s The Very Excellent Mr Dundee not gone straight to Stan or Amazon Prime.
In addition, early digital releases including Ben Lawrence’s Hearts and Bones, Maziar Lahooti’s Below and Kriv Stenders’ Brock: Over the Top deprived audiences of the chance to see them in the optimum way.
The closure of Victorian cinemas, the lack of major new releases and limits on sessions and seating capacity could mean a grim outlook for cinemas,...
- 8/4/2020
- by The IF Team
- IF.com.au
Miss Fisher is back in her first installment since 2015, when the third season aired in Australia, but this time it’s in a feature-length adventure, Miss Fisher and the Crypt of Tears. Essie Davis returns as 20s-era detective Phryne Fisher (from the rather brilliant Kerry Greenwood books) and this adventure will find her traveling the […]
The post Miss Fisher & The Crypt Of Tears Review – Acorn TV Premiere March 23 appeared first on Are You Screening?.
The post Miss Fisher & The Crypt Of Tears Review – Acorn TV Premiere March 23 appeared first on Are You Screening?.
- 3/20/2020
- by Marc Eastman
- AreYouScreening.com
‘Miss Fisher & the Crypt of Tears’.
Miss Fisher & the Crypt of Tears, the feature film spin-off Every Cloud Productions’ series Miss Fisher’s Murder Mysteries, and writer-director Michael Bentham’s indie Disclosure, will both make their world premiere at the Palm Springs International Film Festival in early January.
Each will screen as part of the World Cinema Now section, alongside other Australian films, Shannon Murphy’s Babyteeth and Mirrah Foulkes’ Judy & Punch. Samuel Van Grinsven’s Sequin in a Blue Room will screen as part of Queer Cinema Today & the GayLA, and as Australia’s submission for the Academy Award for Best International Feature Film, Rodd Rathjen’s Buoyancy will also screen alongside the other 51 submissions for the Oscar from around the world.
‘Disclosure’.
Directed by the series’ set up director Tony Tilse from a screenplay by Deb Cox, Miss Fisher & Crypt of Tears was shot on location in Melbourne and in Morocco,...
Miss Fisher & the Crypt of Tears, the feature film spin-off Every Cloud Productions’ series Miss Fisher’s Murder Mysteries, and writer-director Michael Bentham’s indie Disclosure, will both make their world premiere at the Palm Springs International Film Festival in early January.
Each will screen as part of the World Cinema Now section, alongside other Australian films, Shannon Murphy’s Babyteeth and Mirrah Foulkes’ Judy & Punch. Samuel Van Grinsven’s Sequin in a Blue Room will screen as part of Queer Cinema Today & the GayLA, and as Australia’s submission for the Academy Award for Best International Feature Film, Rodd Rathjen’s Buoyancy will also screen alongside the other 51 submissions for the Oscar from around the world.
‘Disclosure’.
Directed by the series’ set up director Tony Tilse from a screenplay by Deb Cox, Miss Fisher & Crypt of Tears was shot on location in Melbourne and in Morocco,...
- 12/11/2019
- by jkeast
- IF.com.au
Matt Nable in ‘The Sounds’. (Photo: South Pacific Pictures).
AMC-owned streamer Acorn TV has secured a new distribution deal with ABC Commercial for a significant range of local content for its Anz-based subscription service, and has partnered with Sky Nz to commission Kiwi thriller The Sounds.
The new ABC agreement will include Miss Fisher’s Murder Mysteries, Jungle Entertainment’s A Moody Christmas and The Moodys. The agreement also lists UK productions Kingdom, Shameless and made for television film, Churchill’s Secret. All ABC content in the agreement will be available to stream in locally September and October.
ABC Commercial has been a founding content partner for Acorn TV, which re-launched in 2018 in North America and recently hit the 1 million subscribers.
“ABC content resonates with Acorn’s core audience, so we are extremely happy to build on our partnership and see more of the ABC’s world-class list...
AMC-owned streamer Acorn TV has secured a new distribution deal with ABC Commercial for a significant range of local content for its Anz-based subscription service, and has partnered with Sky Nz to commission Kiwi thriller The Sounds.
The new ABC agreement will include Miss Fisher’s Murder Mysteries, Jungle Entertainment’s A Moody Christmas and The Moodys. The agreement also lists UK productions Kingdom, Shameless and made for television film, Churchill’s Secret. All ABC content in the agreement will be available to stream in locally September and October.
ABC Commercial has been a founding content partner for Acorn TV, which re-launched in 2018 in North America and recently hit the 1 million subscribers.
“ABC content resonates with Acorn’s core audience, so we are extremely happy to build on our partnership and see more of the ABC’s world-class list...
- 9/26/2019
- by jkeast
- IF.com.au
‘Danger Close: The Battle of Long Tan.’
The box office results for the Australian films and feature docs released in cinemas this year underline yet again the deep polarisation in the indie film market between the higher earners and the also-rans.
The top five titles – Wayne Blair’s Top End Wedding, Shawn Seet’s Storm Boy, Anthony Marais’ Hotel Mumbai, Damon Gameau’s 2040 and Richard Lowenstein’s Mystify: Michael Hutchence – accounted for $15.8 million or 93 per cent of the Oz releases’ takings.
The Aussie films plus holdovers racked up nearly $17 million through the end of July, according to the Motion Picture Distributors Association of Australia.
That’s a long way below the $40.6 million generated in the same period last year, led by Peter Rabbit’s $26.6 million, Breath’s $4.4 million (finishing with $4.6 million) and Sweet Country’s $2 million.
Surveying the challenges facing the indie film business, Transmission Films’ Andrew Mackie tells If:...
The box office results for the Australian films and feature docs released in cinemas this year underline yet again the deep polarisation in the indie film market between the higher earners and the also-rans.
The top five titles – Wayne Blair’s Top End Wedding, Shawn Seet’s Storm Boy, Anthony Marais’ Hotel Mumbai, Damon Gameau’s 2040 and Richard Lowenstein’s Mystify: Michael Hutchence – accounted for $15.8 million or 93 per cent of the Oz releases’ takings.
The Aussie films plus holdovers racked up nearly $17 million through the end of July, according to the Motion Picture Distributors Association of Australia.
That’s a long way below the $40.6 million generated in the same period last year, led by Peter Rabbit’s $26.6 million, Breath’s $4.4 million (finishing with $4.6 million) and Sweet Country’s $2 million.
Surveying the challenges facing the indie film business, Transmission Films’ Andrew Mackie tells If:...
- 8/2/2019
- by The IF Team
- IF.com.au
Wayne Blair and Miranda Tapsell on the set of ‘Top End Wedding’.
Wayne Blair’s Top End Wedding has edged past Shawn Seet’s Storm Boy to rank as the highest grossing Australian film this year.
At the half way mark of the year, the Australian films and feature docs released in cinemas, plus holdovers, have racked up a modest $15.6 million, according to the Motion Picture Distributors Association of Australia.
That’s a long way below the $40 million generated in the same period last year, led by Peter Rabbit’s $26.6 million, Breath’s $4.4 million (finishing with $4.6 million) and Sweet Country’s $2 million.
So can the industry surpass or match the 2018 calendar year total of $57.4 million? That was the third biggest year ever behind 2001’s $63.1 million and the all-time record of 2015’s $88.1 million, the year of Mad Max: Fury Road, The Dressmaker and Oddball.
Exhibitors are optimistic about the outlook for the rest of the year,...
Wayne Blair’s Top End Wedding has edged past Shawn Seet’s Storm Boy to rank as the highest grossing Australian film this year.
At the half way mark of the year, the Australian films and feature docs released in cinemas, plus holdovers, have racked up a modest $15.6 million, according to the Motion Picture Distributors Association of Australia.
That’s a long way below the $40 million generated in the same period last year, led by Peter Rabbit’s $26.6 million, Breath’s $4.4 million (finishing with $4.6 million) and Sweet Country’s $2 million.
So can the industry surpass or match the 2018 calendar year total of $57.4 million? That was the third biggest year ever behind 2001’s $63.1 million and the all-time record of 2015’s $88.1 million, the year of Mad Max: Fury Road, The Dressmaker and Oddball.
Exhibitors are optimistic about the outlook for the rest of the year,...
- 7/2/2019
- by The IF Team
- IF.com.au
‘2040’.
Five months into the year, 18 Australian films and feature docs released in cinemas since the start of the year, plus holdovers, have racked up a modest $14.3 million.
That compares with $37.6 million generated in the same period last year, led by Peter Rabbit’s $26.4 million, Breath’s $3.6 million in four weeks (finishing with $4.6 million) and Sweet Country’s $2 million.
Shawn Seet’s Storm Boy is the top title with nearly $5 million, a creditable result. But almost certainly that would have been rather higher if Sony Pictures had been able to use Geoffrey Rush in the publicity campaign.
Wayne Blair’s Top End Wedding has grossed $4.7 million through Sunday, its sixth weekend, and could finish with $5.5 million.
Anthony Maras’ Hotel Mumbai collected $3.3 million, knee-capped by the dreadful co-incidence of opening on the same weekend as the Christchurch massacre.
Damon Gameau’s 2040 has earned $568,000 after its second weekend and, buoyed by word-of-mouth, distributor...
Five months into the year, 18 Australian films and feature docs released in cinemas since the start of the year, plus holdovers, have racked up a modest $14.3 million.
That compares with $37.6 million generated in the same period last year, led by Peter Rabbit’s $26.4 million, Breath’s $3.6 million in four weeks (finishing with $4.6 million) and Sweet Country’s $2 million.
Shawn Seet’s Storm Boy is the top title with nearly $5 million, a creditable result. But almost certainly that would have been rather higher if Sony Pictures had been able to use Geoffrey Rush in the publicity campaign.
Wayne Blair’s Top End Wedding has grossed $4.7 million through Sunday, its sixth weekend, and could finish with $5.5 million.
Anthony Maras’ Hotel Mumbai collected $3.3 million, knee-capped by the dreadful co-incidence of opening on the same weekend as the Christchurch massacre.
Damon Gameau’s 2040 has earned $568,000 after its second weekend and, buoyed by word-of-mouth, distributor...
- 6/3/2019
- by The IF Team
- IF.com.au
‘Top End Wedding’.
It’s been a quiet start for the year for Australian films at the national box office, particularly compared to last year when Peter Rabbit and Sweet Country were drawing crowds.
However exhibitors are very optimistic about the outlook for the rest of the year, including Wayne Blair’s Top End Wedding which opened yesterday, Rachel Ward’s Palm Beach and Kriv Stenders’ Danger Close: The Battle of Long Tan (both August 8) and Rachel Griffiths’ Ride Like a Girl (September 26).
Ten new releases plus holdovers collectively racked up $9.06 million through April 30, according to the Motion Picture Distributors Association of Australia.
That’s way below the first four months of 2018, which generated $32 million, with Will Gluck’s Peter Rabbit making $25.4 million en route to a final total of $26.7 million and Warwick Thornton’s Sweet Country $2 million.
Shawn Seet’s Storm Boy pocketed nearly $5 million, not a bad result,...
It’s been a quiet start for the year for Australian films at the national box office, particularly compared to last year when Peter Rabbit and Sweet Country were drawing crowds.
However exhibitors are very optimistic about the outlook for the rest of the year, including Wayne Blair’s Top End Wedding which opened yesterday, Rachel Ward’s Palm Beach and Kriv Stenders’ Danger Close: The Battle of Long Tan (both August 8) and Rachel Griffiths’ Ride Like a Girl (September 26).
Ten new releases plus holdovers collectively racked up $9.06 million through April 30, according to the Motion Picture Distributors Association of Australia.
That’s way below the first four months of 2018, which generated $32 million, with Will Gluck’s Peter Rabbit making $25.4 million en route to a final total of $26.7 million and Warwick Thornton’s Sweet Country $2 million.
Shawn Seet’s Storm Boy pocketed nearly $5 million, not a bad result,...
- 5/3/2019
- by The IF Team
- IF.com.au
Geraldine Hakewill as Peregrine Fisher.
The first of four Ms Fisher’s Modern Murder Mysteries telemovies won its timeslot on the Seven Network last night.
Produced by Beth Frey for Every Cloud Productions, the show was No. 1 across its two hours, although the first hour trailed Network 10’s Gogglebox and the ABC’s Escape from the City.
Seven claimed victory because the viewing figures averaged across the two hours exceeded those on 10 and the ABC.
Created by Fiona Eagger and Deb Cox and directed by Fiona Banks, the 1964-set drama-comedy introduced Geraldine Hakewill as Peregrine Fisher, who takes on the mantle of lady private detective from Phryne Fisher, the aunt she never knew.
Teaming up with a club of feisty women known as The Adventuresses, she went undercover at a department store to solve the murder of a Barbie Jones, a glamorous model who is found perched on a...
The first of four Ms Fisher’s Modern Murder Mysteries telemovies won its timeslot on the Seven Network last night.
Produced by Beth Frey for Every Cloud Productions, the show was No. 1 across its two hours, although the first hour trailed Network 10’s Gogglebox and the ABC’s Escape from the City.
Seven claimed victory because the viewing figures averaged across the two hours exceeded those on 10 and the ABC.
Created by Fiona Eagger and Deb Cox and directed by Fiona Banks, the 1964-set drama-comedy introduced Geraldine Hakewill as Peregrine Fisher, who takes on the mantle of lady private detective from Phryne Fisher, the aunt she never knew.
Teaming up with a club of feisty women known as The Adventuresses, she went undercover at a department store to solve the murder of a Barbie Jones, a glamorous model who is found perched on a...
- 2/21/2019
- by The IF Team
- IF.com.au
Joel Jackson and Geraldine Hakewill.
Director Fiona Banks is tired of watching shows which depict women as victims, back-stabbers or characters who are pitted against each other.
So she was thrilled when she was offered Ms Fisher’s Modern Murder Mysteries, Every Cloud Productions’ spin off of the ABC series which starred Essie Davis as Phryne Fisher.
“The thing that drew me to the show from the word go is the genuine friendships between the women,” says Banks, who served as the set-up director for the first time in her illustrious career.
“These women support and encourage each other. These are good strong relationships. They are not always in agreement with each other and there is lot of humour and strength of character.”
Created by Fiona Eagger and Deb Cox and produced by Beth Frey, the four telemovies are set in 1964 and follow Geraldine Hakewill as Peregrine Fisher, who takes...
Director Fiona Banks is tired of watching shows which depict women as victims, back-stabbers or characters who are pitted against each other.
So she was thrilled when she was offered Ms Fisher’s Modern Murder Mysteries, Every Cloud Productions’ spin off of the ABC series which starred Essie Davis as Phryne Fisher.
“The thing that drew me to the show from the word go is the genuine friendships between the women,” says Banks, who served as the set-up director for the first time in her illustrious career.
“These women support and encourage each other. These are good strong relationships. They are not always in agreement with each other and there is lot of humour and strength of character.”
Created by Fiona Eagger and Deb Cox and produced by Beth Frey, the four telemovies are set in 1964 and follow Geraldine Hakewill as Peregrine Fisher, who takes...
- 2/19/2019
- by The IF Team
- IF.com.au
Essie Davis as Phryne Fisher.
Every Cloud Productions’ Miss Fisher & the Crypt of Tears will get a cinema release in the Us before premiering on the streaming service Acorn TV.
The Svod platform also acquired the four Ms Fisher’s Modern Murder Mysteries telepics, which launch on the Seven Network at 8.30 pm on February 21.
Tony Tilse directed the feature film spin-off of the ABC series and novels by Kerry Greenwood, which stars Essie Davis, Rupert Penry-Jones, Nathan Page, Miriam Margolyes, Jacqueline McKenzie and Ashleigh Cummings.
Acorn TV, which is home to the Miss Fisher series, bought the film sight unseen from the distributor All3Media International and will book Us cinemas after the Australian distributor Roadshow sets its release date. It is the first deal for the movie, which is yet to be screened for international buyers.
“It’s a perfect marriage,” Fiona Eagger, who produced the film with Deb Cox,...
Every Cloud Productions’ Miss Fisher & the Crypt of Tears will get a cinema release in the Us before premiering on the streaming service Acorn TV.
The Svod platform also acquired the four Ms Fisher’s Modern Murder Mysteries telepics, which launch on the Seven Network at 8.30 pm on February 21.
Tony Tilse directed the feature film spin-off of the ABC series and novels by Kerry Greenwood, which stars Essie Davis, Rupert Penry-Jones, Nathan Page, Miriam Margolyes, Jacqueline McKenzie and Ashleigh Cummings.
Acorn TV, which is home to the Miss Fisher series, bought the film sight unseen from the distributor All3Media International and will book Us cinemas after the Australian distributor Roadshow sets its release date. It is the first deal for the movie, which is yet to be screened for international buyers.
“It’s a perfect marriage,” Fiona Eagger, who produced the film with Deb Cox,...
- 2/12/2019
- by The IF Team
- IF.com.au
Deanne Weir.
Given the commercial pressures facing Australia’s free-to-air networks and funding agencies, the industry should look to private investors to fill the widening gap in financing TV dramas and features, according to Deanne Weir.
The chair of Hoodlum Entertainment who also runs her own investment company, Weir is talking to Screen Australia CEO Graeme Mason about how to encourage private investment in the screen sector.
“We have to find ways to create an investor class, particularly as the financing gap in television becomes more of an issue,” she tells If. “We have to help producers become more pro-active and to educate private investors.”
In the final part of If’s series on the challenges and opportunities for the screen industry, If also spoke to Animal Logic CEO Zareh Nalbandian and Ausfilm CEO Debra Richards.
Pre-production has started in Sydney on Will Gluck’s Peter Rabbit 2, a co-production between...
Given the commercial pressures facing Australia’s free-to-air networks and funding agencies, the industry should look to private investors to fill the widening gap in financing TV dramas and features, according to Deanne Weir.
The chair of Hoodlum Entertainment who also runs her own investment company, Weir is talking to Screen Australia CEO Graeme Mason about how to encourage private investment in the screen sector.
“We have to find ways to create an investor class, particularly as the financing gap in television becomes more of an issue,” she tells If. “We have to help producers become more pro-active and to educate private investors.”
In the final part of If’s series on the challenges and opportunities for the screen industry, If also spoke to Animal Logic CEO Zareh Nalbandian and Ausfilm CEO Debra Richards.
Pre-production has started in Sydney on Will Gluck’s Peter Rabbit 2, a co-production between...
- 1/11/2019
- by The IF Team
- IF.com.au
Ryan Corr and Rachael Taylor in ‘Ladies in Black.’
The good news for Australian cinema: Last year ranks as the third biggest ever for Oz films and feature docs released theatrically in the home market.
Another encouraging trend: Eight of the top 30 grossing titles were feature docs, led by Paul Damien Williams’ Gurrumul, Mark Joffe’s Jimmy Barnes: Working Class Boy, Ray Argall’s Midnight Oil 1984, Naina Sen’s The Song Keepers and Catherine Scott’s Backtrack Boys.
The not-so-good news: The top two films, Will Gluck’s Peter Rabbit and Bruce Beresford’s Ladies in Black accounted for nearly 70 per cent of total revenues, while 39 of the 61 new releases each made less than $100,000.
Collectively, local titles including holdovers racked up $57.4 million in 2018, trailing the 2001 total of $63.1 million, according to the Motion Picture Distributors Association of Australia (Mpdaa)
The all-time record is 2015’s $88.1 million, the year of Mad Max: Fury Road,...
The good news for Australian cinema: Last year ranks as the third biggest ever for Oz films and feature docs released theatrically in the home market.
Another encouraging trend: Eight of the top 30 grossing titles were feature docs, led by Paul Damien Williams’ Gurrumul, Mark Joffe’s Jimmy Barnes: Working Class Boy, Ray Argall’s Midnight Oil 1984, Naina Sen’s The Song Keepers and Catherine Scott’s Backtrack Boys.
The not-so-good news: The top two films, Will Gluck’s Peter Rabbit and Bruce Beresford’s Ladies in Black accounted for nearly 70 per cent of total revenues, while 39 of the 61 new releases each made less than $100,000.
Collectively, local titles including holdovers racked up $57.4 million in 2018, trailing the 2001 total of $63.1 million, according to the Motion Picture Distributors Association of Australia (Mpdaa)
The all-time record is 2015’s $88.1 million, the year of Mad Max: Fury Road,...
- 1/6/2019
- by The IF Team
- IF.com.au
The final day of shooting (Photo credit: Tony Tilse)
Production of Every Cloud Productions’ Miss Fisher & the Crypt of Tears wrapped in Melbourne last week after a lengthy shoot in Morocco.
The final block of the 1920-set adventure starring Essie Davis, Rupert Penry-Jones, Nathan Page, Miriam Margolyes, Ashleigh Cummings and Hugo Johnstone-Burt was shot at the historic Werribee Park Mansion.
Director Tony Tilse posted a bunch of location photos during the shoot, to the delight of Miss Fisher fans who contributed more than $1 million in a crowd-funding campaign to the $8 million budget.
Scripted by Deb Cox, the plot follows Davis’ Miss Phryne Fisher as she rescues Shirin Abbas, a young Bedouin girl (Australian newcomer Izabella Yena) from prison in Jerusalem. The sleuth then sets out to unravel a decade-old mystery concerning priceless emeralds, ancient curses and the truth behind the disappearance of Shirin’s forgotten tribe.
(Photo: Tony Tilse...
Production of Every Cloud Productions’ Miss Fisher & the Crypt of Tears wrapped in Melbourne last week after a lengthy shoot in Morocco.
The final block of the 1920-set adventure starring Essie Davis, Rupert Penry-Jones, Nathan Page, Miriam Margolyes, Ashleigh Cummings and Hugo Johnstone-Burt was shot at the historic Werribee Park Mansion.
Director Tony Tilse posted a bunch of location photos during the shoot, to the delight of Miss Fisher fans who contributed more than $1 million in a crowd-funding campaign to the $8 million budget.
Scripted by Deb Cox, the plot follows Davis’ Miss Phryne Fisher as she rescues Shirin Abbas, a young Bedouin girl (Australian newcomer Izabella Yena) from prison in Jerusalem. The sleuth then sets out to unravel a decade-old mystery concerning priceless emeralds, ancient curses and the truth behind the disappearance of Shirin’s forgotten tribe.
(Photo: Tony Tilse...
- 11/25/2018
- by The IF Team
- IF.com.au
‘Ladies in Black.’
As the Australian feature films and feature docs released in cinemas this year have surpassed the calendar 2017 total exhibitors generally are happy with the diversity of product and the number of titles that have resonated with mainstream audiences.
While some say there have been too many niche and small-scale films, the consensus is that local films overall have held their own in a fragmented theatrical market and in the face of competition for eyeballs from the burgeoning Netflix and Stan.
Their outlook for 2019 is even more optimistic – if distributors and exhibitors are smart with their dating.
Through Wednesday, Oz films and feature docs including holdovers have racked up $54.2 million, according to the Motion Picture Distributors Association of Australia (Mpdaa), beating last year’s $49.4 million, which was a market share of 4.1 per cent.
So the industry will finish the year ahead of the 2009 total of $54.8 million. The stand-out...
As the Australian feature films and feature docs released in cinemas this year have surpassed the calendar 2017 total exhibitors generally are happy with the diversity of product and the number of titles that have resonated with mainstream audiences.
While some say there have been too many niche and small-scale films, the consensus is that local films overall have held their own in a fragmented theatrical market and in the face of competition for eyeballs from the burgeoning Netflix and Stan.
Their outlook for 2019 is even more optimistic – if distributors and exhibitors are smart with their dating.
Through Wednesday, Oz films and feature docs including holdovers have racked up $54.2 million, according to the Motion Picture Distributors Association of Australia (Mpdaa), beating last year’s $49.4 million, which was a market share of 4.1 per cent.
So the industry will finish the year ahead of the 2009 total of $54.8 million. The stand-out...
- 11/2/2018
- by The IF Team
- IF.com.au
On location in Atlas Studios Ouarzazate, Morocco.
Jacqueline McKenzie and Daniel Lapaine are playing a quintessentially British aristocratic couple in Miss Fisher & the Crypt of Tears, the feature film spin-off of the ABC series and novels by Kerry Greenwood, which is now shooting in Morocco.
Lord and Lady Lofthouse are old friends of Essie Davis’ Miss Phryne Fisher, who rescues Shirin Abbas, a young Bedouin girl (Australian newcomer Izabella Yena) from prison in Jerusalem and then sets out to find priceless emeralds and to solve the suspicious disappearance of Shirin’s tribe.
Lapaine’s character Lord ‘Lofty’ Lofthouse is described as a man of easygoing charm, the product of generations of wealthy British aristocracy, who served as a high-ranking officer in the Palestinian and Sinai campaigns of World War One. His late parents knew Phyrne’s Aunt Prudence (Miriam Margolyes).
His devoted wife Lady Eleanor is attractive, elegant and civilised.
Jacqueline McKenzie and Daniel Lapaine are playing a quintessentially British aristocratic couple in Miss Fisher & the Crypt of Tears, the feature film spin-off of the ABC series and novels by Kerry Greenwood, which is now shooting in Morocco.
Lord and Lady Lofthouse are old friends of Essie Davis’ Miss Phryne Fisher, who rescues Shirin Abbas, a young Bedouin girl (Australian newcomer Izabella Yena) from prison in Jerusalem and then sets out to find priceless emeralds and to solve the suspicious disappearance of Shirin’s tribe.
Lapaine’s character Lord ‘Lofty’ Lofthouse is described as a man of easygoing charm, the product of generations of wealthy British aristocracy, who served as a high-ranking officer in the Palestinian and Sinai campaigns of World War One. His late parents knew Phyrne’s Aunt Prudence (Miriam Margolyes).
His devoted wife Lady Eleanor is attractive, elegant and civilised.
- 10/21/2018
- by The IF Team
- IF.com.au
First look at the ‘Miss Fisher’ movie. (Photo: Ben King)
Brit Rupert Penry-Jones, Daniel Lapaine and Jacqueline McKenzie have joined the cast of Miss Fisher & the Crypt of Tears, the feature film spin-off of the ABC series and novels by Kerry Greenwood, which is shooting in Morocco.
Essie Davis returns as the glamorous private detective Phryne Fisher with Nathan Page as Detective Inspector Jack Robinson, Miriam Margolyes as Aunt Prudence, Ashleigh Cummings as the loyal assistant and maid Dorothy ‘Dot’ Collins and Hugo Johnstone-Burt as her husband Constable Hugh Collins.
Tony Tilse is directing the movie scripted by Deb Cox and produced by her Every Cloud Productions’ partner Fiona Eagger. Lucy Maclaren is co-producer.
The plot sees the heroine set off from 1920s Melbourne on adventures involving murder, mystery and mayhem from London to British Palestine. After freeing Shirin Abbas, a young Bedouin girl (Australian newcomer Izabella Yena) from her unjust imprisonment in Jerusalem,...
Brit Rupert Penry-Jones, Daniel Lapaine and Jacqueline McKenzie have joined the cast of Miss Fisher & the Crypt of Tears, the feature film spin-off of the ABC series and novels by Kerry Greenwood, which is shooting in Morocco.
Essie Davis returns as the glamorous private detective Phryne Fisher with Nathan Page as Detective Inspector Jack Robinson, Miriam Margolyes as Aunt Prudence, Ashleigh Cummings as the loyal assistant and maid Dorothy ‘Dot’ Collins and Hugo Johnstone-Burt as her husband Constable Hugh Collins.
Tony Tilse is directing the movie scripted by Deb Cox and produced by her Every Cloud Productions’ partner Fiona Eagger. Lucy Maclaren is co-producer.
The plot sees the heroine set off from 1920s Melbourne on adventures involving murder, mystery and mayhem from London to British Palestine. After freeing Shirin Abbas, a young Bedouin girl (Australian newcomer Izabella Yena) from her unjust imprisonment in Jerusalem,...
- 10/18/2018
- by The IF Team
- IF.com.au
‘Ladies in Black.’
The Australian titles released in cinemas this year including holdovers will overtake the calendar 2017 total in the next week or so, boosted by Bruce Beresford’s Ladies in Black.
Through the end of September the Oz films and feature docs had grossed $47.8 million, according to the Motion Picture Distributors Association of Australia (Mpdaa), within spitting distance of last year’s $49.4 million.
After a second weekend drop of just 10 per cent Ladies in Black’s takings have increased by nearly $800,000 to $5.97 million, including $361,000 on Tuesday, so the 1950s-set comedy-drama distributed by Sony is on course to surpass $12 million.
Distributed by Universal Pictures as an alternate content release, Mark Joffe’s biopic Jimmy Barnes: Working Class Boy rang up $823,000, ranking as the year’s second biggest feature doc behind Paul Damian Williams’ Gurrumul, which made $984,000.
Among the other September debutantes, Mark Grentell’s The Merger collected $405,000 and Benjamin Gilmour...
The Australian titles released in cinemas this year including holdovers will overtake the calendar 2017 total in the next week or so, boosted by Bruce Beresford’s Ladies in Black.
Through the end of September the Oz films and feature docs had grossed $47.8 million, according to the Motion Picture Distributors Association of Australia (Mpdaa), within spitting distance of last year’s $49.4 million.
After a second weekend drop of just 10 per cent Ladies in Black’s takings have increased by nearly $800,000 to $5.97 million, including $361,000 on Tuesday, so the 1950s-set comedy-drama distributed by Sony is on course to surpass $12 million.
Distributed by Universal Pictures as an alternate content release, Mark Joffe’s biopic Jimmy Barnes: Working Class Boy rang up $823,000, ranking as the year’s second biggest feature doc behind Paul Damian Williams’ Gurrumul, which made $984,000.
Among the other September debutantes, Mark Grentell’s The Merger collected $405,000 and Benjamin Gilmour...
- 10/3/2018
- by The IF Team
- IF.com.au
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