This episode is a little different from usual, as it features two interviews originally recorded for my radio segment on 2RRR and the Community Radio Network. I thought I’d also publish them here for your listening pleasure.
My first guest here is Dawn Jackson, a filmmaker from Perth whose new documentary Pointe: Dancing on a Knife’s Edge is currently touring Australia with a series of Q&A screenings.
Pointe: Dancing on a Knife’s Edge is a captivating and moving documentary about Australian dancer Floeur Alder, daughter of ballet luminaries Lucette Aldous AC and Alan Alder. At 22, just as she was about to embark on her European dance career, she survived a brutal stabbing by a stranger outside her home. While the physical wounds healed, the trauma stirred turbulent memories from her past, sparking a deeply personal quest to find her place in the dance world.
Dawn Jackson is an award-winning filmmaker and dancer passionate about social change through storytelling. Since completing her Master’s at the WA Screen Academy, specialising in directing, Dawn has been developing the feature documentary Pointe: Dancing on a Knife’s Edge, which recently won the inaugural Brian Beaton Award. She is also developing Caves House – Place of Love, an innovative social history documentary project, and Hush, a new dance/film work born out of an arts residency in the Arctic Circle. Dawn’s previous work includes the men’s mental health drama Fathom, which she directed and produced in 2017.
——
If you’ve been following Cinema Australia for a while now, you’ll know that my next guest needs no introduction.
Davo has released a new feature film almost every second year since his debut, The Lives We Lead, in 2015. Since then, Davo’s filmography has included Hunting for Shadows, A Silent Agreement, The Blood of God, Public Eye, and The Switchblade Sisterhood.
Davo’s latest film, Mothers, Lovers and Others, follows the interweaving private lives and family dramas of several people who cross paths at an orgy.
Davo certainly has a signature style, and as I tell him in this interview, there’s no one else like him making movies in Australia today.
Anyway… enjoy.
All content for Cinema Australia is the property of Cinema Australia and is served directly from their servers
with no modification, redirects, or rehosting. The podcast is not affiliated with or endorsed by Podjoint in any way.
This episode is a little different from usual, as it features two interviews originally recorded for my radio segment on 2RRR and the Community Radio Network. I thought I’d also publish them here for your listening pleasure.
My first guest here is Dawn Jackson, a filmmaker from Perth whose new documentary Pointe: Dancing on a Knife’s Edge is currently touring Australia with a series of Q&A screenings.
Pointe: Dancing on a Knife’s Edge is a captivating and moving documentary about Australian dancer Floeur Alder, daughter of ballet luminaries Lucette Aldous AC and Alan Alder. At 22, just as she was about to embark on her European dance career, she survived a brutal stabbing by a stranger outside her home. While the physical wounds healed, the trauma stirred turbulent memories from her past, sparking a deeply personal quest to find her place in the dance world.
Dawn Jackson is an award-winning filmmaker and dancer passionate about social change through storytelling. Since completing her Master’s at the WA Screen Academy, specialising in directing, Dawn has been developing the feature documentary Pointe: Dancing on a Knife’s Edge, which recently won the inaugural Brian Beaton Award. She is also developing Caves House – Place of Love, an innovative social history documentary project, and Hush, a new dance/film work born out of an arts residency in the Arctic Circle. Dawn’s previous work includes the men’s mental health drama Fathom, which she directed and produced in 2017.
——
If you’ve been following Cinema Australia for a while now, you’ll know that my next guest needs no introduction.
Davo has released a new feature film almost every second year since his debut, The Lives We Lead, in 2015. Since then, Davo’s filmography has included Hunting for Shadows, A Silent Agreement, The Blood of God, Public Eye, and The Switchblade Sisterhood.
Davo’s latest film, Mothers, Lovers and Others, follows the interweaving private lives and family dramas of several people who cross paths at an orgy.
Davo certainly has a signature style, and as I tell him in this interview, there’s no one else like him making movies in Australia today.
Anyway… enjoy.
Welcome to this very different episode of the Cinema Australia Podcast.
So, what’s so different about this episode? Well, it’s the first-ever Cinema Australia Podcast recording with a live audience.
This episode was recorded during the recent WA Made Film Festival, where we invited friend-of-the-fest Zak Hilditch to join me and other punters for an interview about his career and his new film, We Bury the Dead.
We Bury the Dead was filmed in Western Australia and follows Ava Newman (Daisy Ridley), a desperate woman searching for her husband in the aftermath of a catastrophic military experiment.
Hoping to find him alive, Ava joins a "body retrieval unit," but her search takes a chilling turn when the corpses she's burying start showing signs of life.
We Bury the Dead will celebrate its official world premiere at SXSW from March 9 to March 13.
As the film isn’t officially out yet, and I missed it at the Adelaide Film Festival, most of this episode focuses on Zak’s career as a whole—which is hard not to admire.
Following Zak’s Backyard Trilogy, a series of low-budget films he made in the early stages of his career, the filmmaker went on to make the cult classic These Final Hours here in Perth, followed by the Stephen King adaptation 1922 and his horror thriller Rattlesnake, both made for Netflix.
Thank you to everyone who attended this session during the WA Made Film Festival. We hope to bring similar sessions to future festivals.
Anyway… enjoy.
Cinema Australia
This episode is a little different from usual, as it features two interviews originally recorded for my radio segment on 2RRR and the Community Radio Network. I thought I’d also publish them here for your listening pleasure.
My first guest here is Dawn Jackson, a filmmaker from Perth whose new documentary Pointe: Dancing on a Knife’s Edge is currently touring Australia with a series of Q&A screenings.
Pointe: Dancing on a Knife’s Edge is a captivating and moving documentary about Australian dancer Floeur Alder, daughter of ballet luminaries Lucette Aldous AC and Alan Alder. At 22, just as she was about to embark on her European dance career, she survived a brutal stabbing by a stranger outside her home. While the physical wounds healed, the trauma stirred turbulent memories from her past, sparking a deeply personal quest to find her place in the dance world.
Dawn Jackson is an award-winning filmmaker and dancer passionate about social change through storytelling. Since completing her Master’s at the WA Screen Academy, specialising in directing, Dawn has been developing the feature documentary Pointe: Dancing on a Knife’s Edge, which recently won the inaugural Brian Beaton Award. She is also developing Caves House – Place of Love, an innovative social history documentary project, and Hush, a new dance/film work born out of an arts residency in the Arctic Circle. Dawn’s previous work includes the men’s mental health drama Fathom, which she directed and produced in 2017.
——
If you’ve been following Cinema Australia for a while now, you’ll know that my next guest needs no introduction.
Davo has released a new feature film almost every second year since his debut, The Lives We Lead, in 2015. Since then, Davo’s filmography has included Hunting for Shadows, A Silent Agreement, The Blood of God, Public Eye, and The Switchblade Sisterhood.
Davo’s latest film, Mothers, Lovers and Others, follows the interweaving private lives and family dramas of several people who cross paths at an orgy.
Davo certainly has a signature style, and as I tell him in this interview, there’s no one else like him making movies in Australia today.
Anyway… enjoy.
