Australian International Documentary Conference Ltd
AIDC CEO/Conference Director
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Showing all news in Features
Of all the the curveballs that 2020 has thrown the Australian film industry, 'Shrek' making the box office charts might be the funniest.
'It’s all very well to say "we need the ocean to live", but I bet most people on the street can’t tell you why. We wanted to tell a story of how the ocean creates all life on planet earth, and of connectivity between creatures.’
How sticky is your new digital COVID programming, and will it make that secondary pivot back into your core programming post pandemic.
The revival of drive-ins counters isolation, drawing on the magic of cinema in the open air and pointing to a wider future for a struggling form of exhibition.
While the sector is frantic to start shooting, it is also relishing the chance to develop projects. How does that feel to Nerida Moore, Screen Australia’s Head of Development?
Amazon Prime builds up its Aussie content, The Bold Type makes a fourth impression while Disney Plus looks inside one of its biggest animations and first streams a box-office killing kids film.
To mark National Reconciliation Week #InThisTogether2020 we dive into our archive to share some of the meaningful conversations along the reconciliation journey.
An interview with the award-winning filmmaker about his very personal project. Part cooking show, documentary series and performance art, it defies genres.
Designers for the screen can have an anxious but ultimately satisfying time. This is what it looks like from the inside.
See-Saw has some sort of magic juice which keeps it getting better and better. It turns out to be made of idealism, common sense, good people choices and the pleasure of running a company.
Let's unpack IGEA's stats on the local impact of COVID-19, and what the future looks like for the Australian games ecosystem
While Screen Producers Australia struggles to get the Commonwealth to face the industry's real dilemmas, the report card overseas is both bad and good.
The careers of emerging practitioners can inch forward. But the subsequent adventures of the 2001 St Kilda Film Festival winners are surely a reason for hope.
Revenue collapsing, schedules wrecked, standards falling – Flame and Fred tell us the truth about the TV sales and distribution market in a plague year.
As we are all separated so cruelly, spare a thought for the hivemind of the writers room. The fragmentation has some great advantages.
As Corona cripples film and TV production globally, Australian comedy gets DIY to pick up the slack.
From psychedelic cartoons to punk histories, there's something for everyone in the office's roundup of the best of May viewing.
Going online, the St Kilda shorts platform enables the festival movement to experiment with robust digital services which could change it forever.
A new game from Australian developers SMG Studio embodies the sentiment that the show must go on – even in a pandemic.
LGBTQ films tend to provoke debates about authenticity, especially when it comes to sex.
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