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Showing all news in Latest News
The AIDC is getting very close, AWGIES entries open, Monte Miller next week, Vic WIFT in action and NZ steals limelight for old TV shows again.
Fighting for power, the ALP commits to pumping up Screen Tasmania, and promises separate money to Wide Angle, as the fate of festivals remains unknown.
Sweet Country is our dream arthouse film. Did well at festivals, loved by critics. But its cinema performance cruelly reminds us that local audiences would rather get their art from outside.
Both the Oscar favourites are now pretty non-mainstream, and neither has directors born in the US.
This year's signature items were rose for adults and rainbow for kids; next year we move on to candle and pizza.
The Australian Production Designers Guild has taken five years of research and rewriting to produce a free manual, partly for the rest of us.
The biggest, hairiest, most enticing international broadcaster arrives to play in the Australian production market. Do we run for the hills or hit the BBC up for a job?
In 1987 the government spent over 0.6% of its revenue on the ABC. Now it is down to under 0.3%. Just one way to calculate the misery.
The Adelaide Fest goes annual (sort of), Shark Island adds development lab, Queer fests and creative competitions.
Once more the New Zealanders come, seeking funnybones to tickle. This film looks like a doozy.
One Chair, one Managing Director, one Chief Financial Officer - the ABC seen through three speeches and a branding campaign.
Sweet Country thunders through the desert, doing fine but would do better in a just universe.
Netflix changes purchase policy and bang go Australian dreams. Can we save anything from the wreckage?
The long birth, death and resurrection of Australian SF and fantasy on screen is backed by ace writers and a great literary tradition.
SPA kicks off its 2018 briefings season; the Sydney Mardi Gras has a bumper fest; the ADG wants submissions for its awards NOW!
Ending a small excitement drought, the South by South West fest in Austin has glommed onto two features, three shorts and five VR head-benders.
Fighting words from Technicolor as it claims to make Adelaide the VFX capital of Australia.
Getting a visa to work in the US film industry has now become much harder. Crack lawyer Andrea Szew lays out the battle strategy.
Sweet Country hangs in pretty well. Success depends on how long it stays on screens.
The Australian Directors' Guild calls out Peter Dutton for rubber-stamping visas which cut into valuable local jobs.
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