The Australian International Documentary Conference celebrated a record-breaking edition after holding its first expanded in-person event after two previous hybrid and virtual outings.
Held at Melbourne’s Australia Centre for the Moving Image on March 5- 8, the lively four-day conference of industry panels, screenings and networking events was followed by a three-day online international marketplace (March 9 – 11) that drew 820 documentary and factual industry delegates. The numbers were the highest in 20 years and the most attendees since the event relocated to Melbourne in 2016.
The third annual awards were also announced on March 8 with the top prize for best documentary feature going to “Wash My Soul in the River’s Flow,” director Philippa Bateman’s portrait of musician and activists Archie Roach and Ruby Hunter.
The award for best documentary/factual series was won by Blackfella Films’ “The Australian Wars,” a three-part series, commissioned by Sbs, that illuminates and questions Australia’s dark colonial past.
Held at Melbourne’s Australia Centre for the Moving Image on March 5- 8, the lively four-day conference of industry panels, screenings and networking events was followed by a three-day online international marketplace (March 9 – 11) that drew 820 documentary and factual industry delegates. The numbers were the highest in 20 years and the most attendees since the event relocated to Melbourne in 2016.
The third annual awards were also announced on March 8 with the top prize for best documentary feature going to “Wash My Soul in the River’s Flow,” director Philippa Bateman’s portrait of musician and activists Archie Roach and Ruby Hunter.
The award for best documentary/factual series was won by Blackfella Films’ “The Australian Wars,” a three-part series, commissioned by Sbs, that illuminates and questions Australia’s dark colonial past.
- 3/20/2023
- by Katherine Tulich
- Variety Film + TV
A trio of music icons and a legendary racehorse are among the subjects of 10 projects to receive $2.3 million in documentary production funding from Screen Australia.
Of the those earmarked for funding, eight will be supported through the Producer Program, and two through the Commissioned Program.
They include feature documentaries about John Farnham, Ruby Hunter, and Archie Roach, as well as racehorse Winx.
There is also a follow-up to the 2016 documentary Embrace, entitled Embrace Kids.
Screen Australia head of documentary Alex West said an “impressive mix” of projects had rounded out the agency’s documentary funding for 2019/20.
“It’s great to support so many feature documentaries covering a range of exciting topics, including shining a light on a number of Australian icons, and I’m confident they will captivate audiences,” he said.
The Commissioned Program projects are:
Nurses: A 10-part series from ITV Studios Australia for the Seven Network about the nurses in Nsw.
Of the those earmarked for funding, eight will be supported through the Producer Program, and two through the Commissioned Program.
They include feature documentaries about John Farnham, Ruby Hunter, and Archie Roach, as well as racehorse Winx.
There is also a follow-up to the 2016 documentary Embrace, entitled Embrace Kids.
Screen Australia head of documentary Alex West said an “impressive mix” of projects had rounded out the agency’s documentary funding for 2019/20.
“It’s great to support so many feature documentaries covering a range of exciting topics, including shining a light on a number of Australian icons, and I’m confident they will captivate audiences,” he said.
The Commissioned Program projects are:
Nurses: A 10-part series from ITV Studios Australia for the Seven Network about the nurses in Nsw.
- 7/13/2021
- by Sean Slatter
- IF.com.au
This year’s Melbourne International Film Festival (Miff) promises the Australian premieres of highly anticipated local features such as Leah Purcell’s The Drover’s Wife The Legend of Molly Johnson and Justin Kurzel’s Nitram.
Miff unveiled the first slate of projects for its 69th iteration today, which sees it return to cinemas, with the full line-up to be announced July 13.
Purcell’s debut feature, which premiered at SXSW, will form the Opening Night Gala – marking the first time a film from an Indigenous female director has opened the event in its history.
“Leah Purcell’s monumental feature The Drover’s Wife The Legend of Molly Johnson will not just open Miff this year – it will kick the doors in,” said Miff artistic director Al Cossar.
“This is a film made for Miff’s return to cinema – an outback western of grand vision; a resonant, revisionist force of filmmaking that...
Miff unveiled the first slate of projects for its 69th iteration today, which sees it return to cinemas, with the full line-up to be announced July 13.
Purcell’s debut feature, which premiered at SXSW, will form the Opening Night Gala – marking the first time a film from an Indigenous female director has opened the event in its history.
“Leah Purcell’s monumental feature The Drover’s Wife The Legend of Molly Johnson will not just open Miff this year – it will kick the doors in,” said Miff artistic director Al Cossar.
“This is a film made for Miff’s return to cinema – an outback western of grand vision; a resonant, revisionist force of filmmaking that...
- 6/16/2021
- by Jackie Keast
- IF.com.au
A new documentary featuring some of Australia’s most prominent musicians is being used to show the sense of community among asylum seekers ahead of Refugee Week.
John and Lizzi Swatland’s Scattered People follows Mas and Saha, two young Iranian asylum seeker musicians, as they navigate a new world of immigration detention.
Forced to flee their homes for the crime of making music, they are isolated from everything known and familiar. In immigration detention, the pair discover the Scattered People band, and through a shared love of music, once again find hope, community and a way to be heard.
Led by founder, Brian Procopis, with members including Gang Gajang’s Robbie James, the Scattered People band not only perform for but incorporate refugees – including Mas and Saha, in writing, performing, and recording songs.
The film features interviews with interviews with musicians including Missy Higgins, John Butler, Dan Sultan, Archie Roach,...
John and Lizzi Swatland’s Scattered People follows Mas and Saha, two young Iranian asylum seeker musicians, as they navigate a new world of immigration detention.
Forced to flee their homes for the crime of making music, they are isolated from everything known and familiar. In immigration detention, the pair discover the Scattered People band, and through a shared love of music, once again find hope, community and a way to be heard.
Led by founder, Brian Procopis, with members including Gang Gajang’s Robbie James, the Scattered People band not only perform for but incorporate refugees – including Mas and Saha, in writing, performing, and recording songs.
The film features interviews with interviews with musicians including Missy Higgins, John Butler, Dan Sultan, Archie Roach,...
- 6/16/2021
- by Sean Slatter
- IF.com.au
Sydney Film Festival has revealed the first 22 titles on its line-up for this year, which will see the festival return to cinemas around the city after 2020’s virtual iteration.
Leading the pack are a contingent of local docos including Philippa Bateman’s Wash My Soul in the River’s Flow; Amanda Blue’s Step into Paradise and Eddie Martin’s The Kids, recently selected for Tribeca.
Sff will also boast the Nsw premiere of Kiwi film The Justice of Bunny King, Gaysorn Thavat’s debut feature led by Essie Davis and Thomasin McKenzie; and Nz-Canadian co-production, NIght Raiders, directed by Danis Goulet and executive produced by Taika Waititi.
Festival director Nashen Moodley is excited to return to an in-person event come August, noting the festival already had a “incredible” response to its summer season in January at the State Theatre, when it screened High Ground, Firestarter, Girls Can’t Surf, Minari and Another Round.
Leading the pack are a contingent of local docos including Philippa Bateman’s Wash My Soul in the River’s Flow; Amanda Blue’s Step into Paradise and Eddie Martin’s The Kids, recently selected for Tribeca.
Sff will also boast the Nsw premiere of Kiwi film The Justice of Bunny King, Gaysorn Thavat’s debut feature led by Essie Davis and Thomasin McKenzie; and Nz-Canadian co-production, NIght Raiders, directed by Danis Goulet and executive produced by Taika Waititi.
Festival director Nashen Moodley is excited to return to an in-person event come August, noting the festival already had a “incredible” response to its summer season in January at the State Theatre, when it screened High Ground, Firestarter, Girls Can’t Surf, Minari and Another Round.
- 6/8/2021
- by Jackie Keast
- IF.com.au
Michael Gudinski, founder and chairman of the Mushroom Group, died overnight at home in Melbourne. He was 68.
One of the key figures in the Australian music industry, Gudinski started Mushroom Records in 1972 at just 20 years old.
Over the decades, the label worked with some the biggest names in Australian music, such as Jimmy Barnes, Kylie Minogue, Archie Roach, Hunters & Collectors, Paul Kelly, The Angels and Yothu Yindi.
The Mushroom Group also grew to become an entertainment empire, with brands across touring, record labels, publishing, merchandising, booking agencies, film and television production and creative services.
Mushroom Pictures, its production and distribution arm, was formed in 1993.
Gudinski was the executive producer on feature films such as Chopper, Horseplay, Gettin’ Square, Wolf Creek, Macbeth, Storm Warning, Cedar Boys, Mad Bastards, Killing Ground and Boys in the Trees, as well as Seven miniseries Molly.
His most recent project was Stan’s eight-part series The Gloaming,...
One of the key figures in the Australian music industry, Gudinski started Mushroom Records in 1972 at just 20 years old.
Over the decades, the label worked with some the biggest names in Australian music, such as Jimmy Barnes, Kylie Minogue, Archie Roach, Hunters & Collectors, Paul Kelly, The Angels and Yothu Yindi.
The Mushroom Group also grew to become an entertainment empire, with brands across touring, record labels, publishing, merchandising, booking agencies, film and television production and creative services.
Mushroom Pictures, its production and distribution arm, was formed in 1993.
Gudinski was the executive producer on feature films such as Chopper, Horseplay, Gettin’ Square, Wolf Creek, Macbeth, Storm Warning, Cedar Boys, Mad Bastards, Killing Ground and Boys in the Trees, as well as Seven miniseries Molly.
His most recent project was Stan’s eight-part series The Gloaming,...
- 3/2/2021
- by Jackie Keast
- IF.com.au
Antonio Gambale led the winners at Tuesday’s Screen Music Awards, picking up two prizes for his work on Netflix’s Unorthodox.
This year’s ceremony, jointly staged by Apra Amcos and the Australian Guild of Screen Composers, was virtual, hosted by Justine Clarke, Meyne Wyatt and Claudia Karvan.
Clarke used the opportunity to urge government to support the industry, in particular screen composers, in the wake of Covid-19.
“I implore all of you listening, and in particular the Federal Government, not to leave the Australian composers behind as you undertake industry reform.
“There remains a huge opportunity for the Australian Government to further invest in the creation and commissioning of Australian content, and in particular, our composers, to fully celebrate their skills and talent. There is now greater risk that our creatives, our composers, and our small businesses will be left behind in the fast-changing global landscape that is ahead of us.
This year’s ceremony, jointly staged by Apra Amcos and the Australian Guild of Screen Composers, was virtual, hosted by Justine Clarke, Meyne Wyatt and Claudia Karvan.
Clarke used the opportunity to urge government to support the industry, in particular screen composers, in the wake of Covid-19.
“I implore all of you listening, and in particular the Federal Government, not to leave the Australian composers behind as you undertake industry reform.
“There remains a huge opportunity for the Australian Government to further invest in the creation and commissioning of Australian content, and in particular, our composers, to fully celebrate their skills and talent. There is now greater risk that our creatives, our composers, and our small businesses will be left behind in the fast-changing global landscape that is ahead of us.
- 12/1/2020
- by Jackie Keast
- IF.com.au
Courtney Barnett has unveiled her MTV Australia Unplugged Live in Melbourne album via stream. The physical album will be released on February 21st and is available for pre-order. The performance, which was filmed in October at Howler in her hometown of Melbourne, spans covers and songs from her catalog as well as her original new song, “Untitled (Play it on Repeat).”
Backed by bandmates Dave Mudie and Bones Sloane, her intimate, stripped-down performance also features cellist Lucy Waldron. Guest collaborators include Paul Kelly, Marlon Williams and Evelyn Ida Morris.
For her new song,...
Backed by bandmates Dave Mudie and Bones Sloane, her intimate, stripped-down performance also features cellist Lucy Waldron. Guest collaborators include Paul Kelly, Marlon Williams and Evelyn Ida Morris.
For her new song,...
- 12/6/2019
- by Althea Legaspi
- Rollingstone.com
The Tracker
ArtMattan Prods.
NEW YORK -- Australian director Rolf De Heer's Outback saga "The Tracker" has the punch of a good Western with a clean and direct script plus an adventurous use of songs and folk paintings. The film's single-minded, somewhat stylized approach reminds of Clint Eastwood at his most economic and brutal -- "High Plains Drifter", for instance. "The Tracker" has no warm moments and few scenes of redemption. General audiences will probably find these raw emotions a tough watch, though critics and cineastes will certainly be impressed. The story's similarities to Philip Noyce's talked-about "Rabbit Proof Fence" could widen its boxoffice appeal.
De Heer's script tells of four very different men on the trail of an Aboriginal fugitive in 1920s Australia: The Fanatic (Gary Sweet, from De Heer's more recent "Alexandra's Project"), a racial supremacist who hates all Aborigines
the Follower (Damon Gameau), a nervy rookie policeman
the Veteran (Grant Page), an aging conscript with no stomach for his job
and the Aboriginal Tracker (David Gulpilil), who seems content to do the white men's bidding.
As the quartet range deeper into the Outback, conflicts develop. The Fanatic murders any Aborigine he comes across. These acts of violence gradually alienate him from the Follower. The Tracker, in his element, coolly manipulates the situation to his advantage and finally dispenses rough justice to the white men.
De Heer's approach to narrative is unusual. He allows folksy songs (written by Graham Tardif and sung by Archie Roach) to run at length over the images. Far from being background music, these songs elucidate both the history of the treatment of Aborigines and the feelings of the Tracker. The acts of violence are represented by Aboriginal paintings inserted into the narrative. Ian Jones' cinematography emphasizes the vastness of the land, effectively using a quick zoom -- usually the most reviled of photographic techniques -- to pick out a relevant feature or character in the Outback.
The film is unequivocal in its depiction of how the settlers sought to destroy Aboriginal life and culture.by Stephen Hopkins and Eric Bross. Hopkins, whose experience at action shows includes directing "24," brings a brisk pace and a sharp eye for composition to the first night. Bross maintains the roller-coaster ride on the second and third nights, eliciting strong but restrained performances. In particular, Koteas shines as the mysterious but dedicated agent juggling long-distance family responsibilities with a job that doesn't come with a well-defined playbook.
Vancouver fills in for Seattle thanks, in part, to geographical proximity and similar climates. Scenes of foreign locales, also shot in Vancouver, are more generic and slightly less convincing.
TRAFFIC: THE MINISERIES
USA Network
Initial Entertainment Group
Credits:
Executive producer/writer: Ron Hutchinson
Producers: Stephen Hopkins, Jay Benson
Consulting producer: Ilene Kahn Power
Directors: Stephen Hopkins, Eric Bross
Director of photography: Joel Ransom
Production designer: David Fischer
Editors: Tod Feuerman, John Duffy
Music: Jeff Rona
Art director: Don Macaulay
Set decorator: Dominique Fauguet-Lemaitre
Casting: Mary Jo Slater, Steve Brooksbank
Cast:
Adam Kadyrov: Cliff Curtis
Mike McKay: Elias Koteas
Brent Delaney: Martin Donovan
Ben Edmonds: Balthazar Getty
Carole McKay: Mary McCormack
Fazal: Ritchie Coster
Ronny Cho: Nelson Lee
Alex Edmonds: Tony Musante
Tyler McKay: Justin Chatwin
Kahn: Brian George
Angie: Jennifer Rae Westleyear="none" />Editors: William Morris, Teki Cruickshank, Adrian Herrera, Fred Hawthorne, Marc Cahill, Michael Auerbach, Brian Horn, Jeff Cooper
Host: George Gray
Starring:
Todd Santos="none" />No MPAA rating " />Shane McCutcheon: Katherine Moennig
Dana Fairbanks: Erin Daniels
Alice Pieszecki: Leisha Hailey
Kit Porter: Pam Grierppencott, David Vanacore, Mark T. Williams
Main title theme: The O-Jays
Casting: Rob LaPlante...
NEW YORK -- Australian director Rolf De Heer's Outback saga "The Tracker" has the punch of a good Western with a clean and direct script plus an adventurous use of songs and folk paintings. The film's single-minded, somewhat stylized approach reminds of Clint Eastwood at his most economic and brutal -- "High Plains Drifter", for instance. "The Tracker" has no warm moments and few scenes of redemption. General audiences will probably find these raw emotions a tough watch, though critics and cineastes will certainly be impressed. The story's similarities to Philip Noyce's talked-about "Rabbit Proof Fence" could widen its boxoffice appeal.
De Heer's script tells of four very different men on the trail of an Aboriginal fugitive in 1920s Australia: The Fanatic (Gary Sweet, from De Heer's more recent "Alexandra's Project"), a racial supremacist who hates all Aborigines
the Follower (Damon Gameau), a nervy rookie policeman
the Veteran (Grant Page), an aging conscript with no stomach for his job
and the Aboriginal Tracker (David Gulpilil), who seems content to do the white men's bidding.
As the quartet range deeper into the Outback, conflicts develop. The Fanatic murders any Aborigine he comes across. These acts of violence gradually alienate him from the Follower. The Tracker, in his element, coolly manipulates the situation to his advantage and finally dispenses rough justice to the white men.
De Heer's approach to narrative is unusual. He allows folksy songs (written by Graham Tardif and sung by Archie Roach) to run at length over the images. Far from being background music, these songs elucidate both the history of the treatment of Aborigines and the feelings of the Tracker. The acts of violence are represented by Aboriginal paintings inserted into the narrative. Ian Jones' cinematography emphasizes the vastness of the land, effectively using a quick zoom -- usually the most reviled of photographic techniques -- to pick out a relevant feature or character in the Outback.
The film is unequivocal in its depiction of how the settlers sought to destroy Aboriginal life and culture.by Stephen Hopkins and Eric Bross. Hopkins, whose experience at action shows includes directing "24," brings a brisk pace and a sharp eye for composition to the first night. Bross maintains the roller-coaster ride on the second and third nights, eliciting strong but restrained performances. In particular, Koteas shines as the mysterious but dedicated agent juggling long-distance family responsibilities with a job that doesn't come with a well-defined playbook.
Vancouver fills in for Seattle thanks, in part, to geographical proximity and similar climates. Scenes of foreign locales, also shot in Vancouver, are more generic and slightly less convincing.
TRAFFIC: THE MINISERIES
USA Network
Initial Entertainment Group
Credits:
Executive producer/writer: Ron Hutchinson
Producers: Stephen Hopkins, Jay Benson
Consulting producer: Ilene Kahn Power
Directors: Stephen Hopkins, Eric Bross
Director of photography: Joel Ransom
Production designer: David Fischer
Editors: Tod Feuerman, John Duffy
Music: Jeff Rona
Art director: Don Macaulay
Set decorator: Dominique Fauguet-Lemaitre
Casting: Mary Jo Slater, Steve Brooksbank
Cast:
Adam Kadyrov: Cliff Curtis
Mike McKay: Elias Koteas
Brent Delaney: Martin Donovan
Ben Edmonds: Balthazar Getty
Carole McKay: Mary McCormack
Fazal: Ritchie Coster
Ronny Cho: Nelson Lee
Alex Edmonds: Tony Musante
Tyler McKay: Justin Chatwin
Kahn: Brian George
Angie: Jennifer Rae Westleyear="none" />Editors: William Morris, Teki Cruickshank, Adrian Herrera, Fred Hawthorne, Marc Cahill, Michael Auerbach, Brian Horn, Jeff Cooper
Host: George Gray
Starring:
Todd Santos="none" />No MPAA rating " />Shane McCutcheon: Katherine Moennig
Dana Fairbanks: Erin Daniels
Alice Pieszecki: Leisha Hailey
Kit Porter: Pam Grierppencott, David Vanacore, Mark T. Williams
Main title theme: The O-Jays
Casting: Rob LaPlante...
- 7/9/2004
- The Hollywood Reporter - Movie News
The Tracker
ArtMattan Prods.
NEW YORK -- Australian director Rolf De Heer's Outback saga "The Tracker" has the punch of a good Western with a clean and direct script plus an adventurous use of songs and folk paintings. The film's single-minded, somewhat stylized approach reminds of Clint Eastwood at his most economic and brutal -- "High Plains Drifter", for instance. "The Tracker" has no warm moments and few scenes of redemption. General audiences will probably find these raw emotions a tough watch, though critics and cineastes will certainly be impressed. The story's similarities to Philip Noyce's talked-about "Rabbit Proof Fence" could widen its boxoffice appeal.
De Heer's script tells of four very different men on the trail of an Aboriginal fugitive in 1920s Australia: The Fanatic (Gary Sweet, from De Heer's more recent "Alexandra's Project"), a racial supremacist who hates all Aborigines
the Follower (Damon Gameau), a nervy rookie policeman
the Veteran (Grant Page), an aging conscript with no stomach for his job
and the Aboriginal Tracker (David Gulpilil), who seems content to do the white men's bidding.
As the quartet range deeper into the Outback, conflicts develop. The Fanatic murders any Aborigine he comes across. These acts of violence gradually alienate him from the Follower. The Tracker, in his element, coolly manipulates the situation to his advantage and finally dispenses rough justice to the white men.
De Heer's approach to narrative is unusual. He allows folksy songs (written by Graham Tardif and sung by Archie Roach) to run at length over the images. Far from being background music, these songs elucidate both the history of the treatment of Aborigines and the feelings of the Tracker. The acts of violence are represented by Aboriginal paintings inserted into the narrative. Ian Jones' cinematography emphasizes the vastness of the land, effectively using a quick zoom -- usually the most reviled of photographic techniques -- to pick out a relevant feature or character in the Outback.
The film is unequivocal in its depiction of how the settlers sought to destroy Aboriginal life and culture.by Stephen Hopkins and Eric Bross. Hopkins, whose experience at action shows includes directing "24," brings a brisk pace and a sharp eye for composition to the first night. Bross maintains the roller-coaster ride on the second and third nights, eliciting strong but restrained performances. In particular, Koteas shines as the mysterious but dedicated agent juggling long-distance family responsibilities with a job that doesn't come with a well-defined playbook.
Vancouver fills in for Seattle thanks, in part, to geographical proximity and similar climates. Scenes of foreign locales, also shot in Vancouver, are more generic and slightly less convincing.
TRAFFIC: THE MINISERIES
USA Network
Initial Entertainment Group
Credits:
Executive producer/writer: Ron Hutchinson
Producers: Stephen Hopkins, Jay Benson
Consulting producer: Ilene Kahn Power
Directors: Stephen Hopkins, Eric Bross
Director of photography: Joel Ransom
Production designer: David Fischer
Editors: Tod Feuerman, John Duffy
Music: Jeff Rona
Art director: Don Macaulay
Set decorator: Dominique Fauguet-Lemaitre
Casting: Mary Jo Slater, Steve Brooksbank
Cast:
Adam Kadyrov: Cliff Curtis
Mike McKay: Elias Koteas
Brent Delaney: Martin Donovan
Ben Edmonds: Balthazar Getty
Carole McKay: Mary McCormack
Fazal: Ritchie Coster
Ronny Cho: Nelson Lee
Alex Edmonds: Tony Musante
Tyler McKay: Justin Chatwin
Kahn: Brian George
Angie: Jennifer Rae Westleyear="none" />Editors: William Morris, Teki Cruickshank, Adrian Herrera, Fred Hawthorne, Marc Cahill, Michael Auerbach, Brian Horn, Jeff Cooper
Host: George Gray
Starring:
Todd Santos="none" />No MPAA rating " />Shane McCutcheon: Katherine Moennig
Dana Fairbanks: Erin Daniels
Alice Pieszecki: Leisha Hailey
Kit Porter: Pam Grierppencott, David Vanacore, Mark T. Williams
Main title theme: The O-Jays
Casting: Rob LaPlante...
NEW YORK -- Australian director Rolf De Heer's Outback saga "The Tracker" has the punch of a good Western with a clean and direct script plus an adventurous use of songs and folk paintings. The film's single-minded, somewhat stylized approach reminds of Clint Eastwood at his most economic and brutal -- "High Plains Drifter", for instance. "The Tracker" has no warm moments and few scenes of redemption. General audiences will probably find these raw emotions a tough watch, though critics and cineastes will certainly be impressed. The story's similarities to Philip Noyce's talked-about "Rabbit Proof Fence" could widen its boxoffice appeal.
De Heer's script tells of four very different men on the trail of an Aboriginal fugitive in 1920s Australia: The Fanatic (Gary Sweet, from De Heer's more recent "Alexandra's Project"), a racial supremacist who hates all Aborigines
the Follower (Damon Gameau), a nervy rookie policeman
the Veteran (Grant Page), an aging conscript with no stomach for his job
and the Aboriginal Tracker (David Gulpilil), who seems content to do the white men's bidding.
As the quartet range deeper into the Outback, conflicts develop. The Fanatic murders any Aborigine he comes across. These acts of violence gradually alienate him from the Follower. The Tracker, in his element, coolly manipulates the situation to his advantage and finally dispenses rough justice to the white men.
De Heer's approach to narrative is unusual. He allows folksy songs (written by Graham Tardif and sung by Archie Roach) to run at length over the images. Far from being background music, these songs elucidate both the history of the treatment of Aborigines and the feelings of the Tracker. The acts of violence are represented by Aboriginal paintings inserted into the narrative. Ian Jones' cinematography emphasizes the vastness of the land, effectively using a quick zoom -- usually the most reviled of photographic techniques -- to pick out a relevant feature or character in the Outback.
The film is unequivocal in its depiction of how the settlers sought to destroy Aboriginal life and culture.by Stephen Hopkins and Eric Bross. Hopkins, whose experience at action shows includes directing "24," brings a brisk pace and a sharp eye for composition to the first night. Bross maintains the roller-coaster ride on the second and third nights, eliciting strong but restrained performances. In particular, Koteas shines as the mysterious but dedicated agent juggling long-distance family responsibilities with a job that doesn't come with a well-defined playbook.
Vancouver fills in for Seattle thanks, in part, to geographical proximity and similar climates. Scenes of foreign locales, also shot in Vancouver, are more generic and slightly less convincing.
TRAFFIC: THE MINISERIES
USA Network
Initial Entertainment Group
Credits:
Executive producer/writer: Ron Hutchinson
Producers: Stephen Hopkins, Jay Benson
Consulting producer: Ilene Kahn Power
Directors: Stephen Hopkins, Eric Bross
Director of photography: Joel Ransom
Production designer: David Fischer
Editors: Tod Feuerman, John Duffy
Music: Jeff Rona
Art director: Don Macaulay
Set decorator: Dominique Fauguet-Lemaitre
Casting: Mary Jo Slater, Steve Brooksbank
Cast:
Adam Kadyrov: Cliff Curtis
Mike McKay: Elias Koteas
Brent Delaney: Martin Donovan
Ben Edmonds: Balthazar Getty
Carole McKay: Mary McCormack
Fazal: Ritchie Coster
Ronny Cho: Nelson Lee
Alex Edmonds: Tony Musante
Tyler McKay: Justin Chatwin
Kahn: Brian George
Angie: Jennifer Rae Westleyear="none" />Editors: William Morris, Teki Cruickshank, Adrian Herrera, Fred Hawthorne, Marc Cahill, Michael Auerbach, Brian Horn, Jeff Cooper
Host: George Gray
Starring:
Todd Santos="none" />No MPAA rating " />Shane McCutcheon: Katherine Moennig
Dana Fairbanks: Erin Daniels
Alice Pieszecki: Leisha Hailey
Kit Porter: Pam Grierppencott, David Vanacore, Mark T. Williams
Main title theme: The O-Jays
Casting: Rob LaPlante...
- 1/27/2004
- The Hollywood Reporter - Movie News
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