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Women in Film: Puberty Blues - A Retrospective

By Nathania Gilson

Lead actresses Nell Schofield and Jad Capelja in a production still from Puberty Blues (1981).

“The film is feminist in a way. I think it is also a comment on peer group pressure, male chauvinism in teenage groups, school and parent hassles.” -- Nell Schofield

With the impending release of an 8-part television series from Network Ten that is, ironically enough, set in the same Cronulla locale as the currently-on-air botox enhanced reality show, The Shire, I thought it would be fitting to revisit the original 1981 classic as directed by Bruce Beresford.

Why did a film about two teenage girls growing up in beach-side Sydney shake up the local industry and concurrently resonate with so many, especially young, audience members?

Based on the unapologetic novel, co-written by Gabrielle Carey and Kathy Lette, the bluntly titled Puberty Blues was a refreshing change to the whimsical, starry-eyed point of view most other young adult novels of the time had to offer. Although not every crucial issue addressed in the book was faithfully adapted from page to screen (the topic of abortion was diluted to a distressful late period), many other concerns including the misogyny of surf culture, and teenage retaliation in the form of drugs and underage sex against the backdrop of a middle-class suburban existence were explored in a way that gained empathy from its largely teenage audience, and made critics of the time write it off as a 'crass attempt' at competing with its American contemporaries.

Debbie and Sue, best friends and just on the outskirts of the high school social sphere are desperate to become a part of the Greenhill Gang; the cool kids, the "surfies" and will try just about anything to get in. Social climbing isn't the only issue explored here, though -- the film also sheds light on the girls' decision to take charge, ditch towel duty and fetching Chiko rolls for their boyfriends in favour of taking to the waves and surfing for themselves.

Lesley Speed, author of When the Sun Sets Over Suburbia... for the Journal of Media & Cultural Studies reflects that "Cronulla surf culture serves as a prism" through which we can observe Australian youth culture.

Considering the 30 year gap between the original film and the newly re-booted series, it will be interesting to see which aspects of the book are once again adapted, and if the attitudes of audiences and network regulations in 2012 will allow for some of the more grittier questions the original co-authors asked as opposed to a possibly disappointing sugar coated nostalgic sheen over the narrative?

Let's hope the former carries through in the new series staring Claudia Karvan, Brenna Harding and Ashleigh Cummings, airing shortly after the London Olympics as part of Ten's new season of television.

Nathania Gilson is a young filmmaker living in Melbourne, Australia. She has spent the last three years working on a number of short films, music videos and documentaries. Her side projects involve curating content for independent publications, adventuring and maintaining the ability to function on minimal sleep. She is excited about the future.

Guest User 22/6/12 Guest User 22/6/12

Women in Film: Jill Bilcock

By Nathania Gilson

The essence of cinema is editing. It's the combination of what can be extraordinary images of people during emotional moments, or images in a general sense, put together in a kind of alchemy. Francis Ford Coppola

The work of a film editor is more often than not contradictory: hours and hours of precious time are spent pouring over reels of footage whilst making imperative decisions about what makes the final cut of the film alongside the director's vision. Yet so much of what makes the film, truly, is the editor's ability to remain invisible - to not be seen, but felt with every purposeful cut and story-telling device in place for audiences to make the most of.

This is why I find the mind and work of Melbourne-based film editor Jill Bilcock so fascinating. She has worked with a menagerie of both Australian and international directors, noted for her daring (turning down Sam Mendes' American Beauty to work on homegrown film The Dish) and ingenuity (she cut her first film on her kitchen table due to limited resources; it soon went on to premiere at various film festivals upon its completion), and ability to win the hearts and trust of every director she has worked with.

Jill Bilcock at Sundance in 2011 (via zimbio)

Jill was most recently a guest speaker on the lecture series Friday on My Mind (a free AFTRS initiative held at ACMI in Melbourne) to share her experiences and approach to the craft whilst working on films such as Moulin Rouge!, Strictly Ballroom, Road to Perdition, and most recently, Red Dog.

She just dovetails and squirrels away into the mind of the director. She gets into the subconscious and comes out and conjures up an edit. She's like Tinkerbell. Shekhar Kapur on Jill Bilcock

For those of you reading who are curious about the role of an editor in the filmmaking process, and about some of what it takes to be a particularly good one, here are some tips based on Jill's own philosophy and advice from experiences over the years:

Take the risk and work with first-time directors.

Jill enjoys working with new directors for the passion and enthusiasm that they bring to their projects that well-seasoned vetrans in the industry may not necessarily share. As she has pointed out, "...they're still terribly excited about what they are doing. And, not open to pleasing anybody else. Because they are passionate and believe in what they want to do - they haven't been worn down by studio experience yet so creatively they tend to step into areas that are much more interesting as opposed to some people who have been making films for the last thirty years."

Working with people who love what they do is never a certainty but always a pleasure when it is the case -- as an editor, enjoy the opportunity if the project is up your alley and if creative synergy that could be possible seems an exciting prospect.

Never lose your ability to be affected by your work, and the work of others.

Director Rob Sitch once spoke of Bilcock's ability to remain 'vulnerable' to a film, which seems an important consideration to avoid your story becoming a messy, self-indulgent and irrelevant tale filled with unrelatable characters. After all, we make films so that audiences may be affected by them; however big or small in feeling, you want them to emerge from the cinema or end of the film a slightly different person, and this can only really be genuinely achieved if as an editor, you maintain a way to connect to the people watching and not just the people who were involved in its making.

Embrace new technology.

In 1994, Jill used a minimalist piece of editing software called Lightworks that allowed for a no-nonsense approach to cutting a film together in the edit suite. Since its original inception, countless Hollywood films have adapted to this workflow (Hugo, Shutter Island, Pulp Fiction) and is now highly regarded in the industry as the go-to choice for award winning editors. Jill herself has used it with films such as Moulin Rouge! and Don't Be Afraid of the Dark. Being an ever-evolving industry will little to no certainty about what works, is 'in', or worth investing in, keeping afloat about new and emerging technological advances in the industry is incredibly beneficial and shouldn't be taken for granted.

Do It Yourself.

One of Jill's first memories of cutting a film was with a knife on her kitchen table for a student film project whilst she was studying at the VCA, shot on her own 16mm Bolex camera. Take initiative and find resourceful ways to reach the end product -- you'll learn more, as Jill suggests, doing it your own way and learning on your own curve.

Respect the director's vision, but offer your own take on the story, too.

Directors look to their editors as someone who can interpret their vision in the best way possible, after all, the cutting room is essentially where the real film gets made, with every cut and transition from scene to scene and moment to moment being driven by purpose and momentum. However, remember that as an editor, as was the case with the partnership between Jill and Baz Luhrman, you're their 'bogus detector', too. Don't be afraid to point out where something doesn't seem right, or something doesn't work emotionally, not just visually. Good directors will respect your honesty and listen to the advice you have to offer. Trust between the two of you in this crucial partnership is very important.

Don't be in it for the glory.

Despite having worked on so many award-winning films, as an editor, Jill Bilcock may not necessarily be the first name that comes to mind when a person conjures up memories or buzz surrounding her filmography. The work of an editor; the seamlessness of their technique often ends up seeming invisible, and best appreciated when it's not even noticeably 'there'. An editor is such an important part of getting the film to its final stages of the theatrical cut, as are all the other valued crew who work in post-production alongside them. Love of the craft and creative impact you have on the stories you help tell will ultimately surpass the egotistical reasons someone may be attached to a project in the long run.

Keep an open mind.

You never know where your next project or collaborator may come from. This is exciting; stay open to possibilities and opportunities around you.

Jill's most recent film, Red Dog is now available on DVD, Blu-Ray and to download. She is currently based in Melbourne, and we can look forward to watching more of her work on screen in the near future.

Guest User 25/5/12 Guest User 25/5/12

Women in Film: Focus on Cannes

By Nathania Gilson Every year, thousands of young and emerging filmmakers alike submit their short films to Cannes in the hope of being picked out from the masses and given the opportunity for exposure, recognition and development towards a fruitful path in turning their lifelong passion into a sustainable career.

Whilst there are many categories within the festival program, the ones I find the most intriguing to pour over are the Cinéfondation and Short Film Competition selections which nominate over 10-15 short films respectively from student filmmakers across 300-odd countries from various film schools (Cinéfondation) and promising filmmakers who have crafted exceptional stories with a distinct personal vision (Short Film Competition).

These are my picks for ones to watch in 2012, focussing specifically on women directors and Australian short film.

Behind Me Olive Trees (Derrière moi les oliviers)

Competing in: Cinéfondation | Country of origin: Lebanon | Directed by: Pascale Abou Jarma | Duration: 20 mins

After 10 years in Israel, Mariam and her brother return to the South of Lebanon to live in their native country. But they still feel rejected by the local community because they are the children of an agent in the army of "Lahd", who cooperated with the Israeli army before the release of Southern Lebanon in 2000.

Watch the trailer here.

(First-time entry from a Lebanese film school in the Cinéfondation category)

Doroga Na (The Road To)

Competing in: Cinéfondation | Country of origin: Russia | Directed by: Tasia Igumentsava | Duration: 32 mins

Sergey works as a vendor in the unusual goods section. His life is like a million other lives, till night covers the city.

Matteus

Competing in: Cinéfondation | Country of origin: Belgium | Directed by: Leni Huyghe | Duration: 18 mins

‘For me, it’s not black or white. It’s really grey, I leave it open.’ Leni Huyghe

Alice and Nico move to the countryside with their ten-year-old son Mateo. While they are busy renovating the house, the parents do not notice that the boy is changing. When they realize there is something wrong, it is already too late.

Watch the trailer here.

Cockaigne

Competing in: Short Film Competition | Country of origin: Belgium | Directed by: Emilie Verhamme | Duration: 13 mins

'I don't want people to think: "What a cocky person! In your second year, you send your movie to Cannes!" I just sent it to a lot of festivals and then totally forgot about it. But why not try?' - Emilie Verhamme

A Ukrainian father and his two sons travel from Kiev to Brussels in the hope to find a better life. Once there, they are confronted with a harsh reality and become the victims of exploitation and degradation.

View the press kit here.

Night Shift

Competing in: Short Film Competition | Country of origin: New Zealand| Directed by: Zia Mandviwalla | Duration: 14 mins

“Human emotion transcends culture - we all know and understand love, loneliness or separation, regardless of what language we speak or what food we cook at home. For me, the authenticity lies in bringing truthful experiences to the screen,” - Zia Mandviwalla

Salote, an airport cleaner starts another long night shift. She keeps her head down, does her job and gleans her survival from what others leave behind. No one would usually spare her a second glance.

Resen (Dog Leash)

Competing in: Short Film Competition | Country of origin: Israel | Directed by: Eti Tsicko | Duration: 26 mins

Cracks are starting to burst in Marina’s frozen life, forcing a search. The journey will take her beyond traditional boundaries, but also lead to more dangerous places.

Chef de Meute (Herd Leader)

Competing in: Short Film Competition | Country of origin: Canada | Directed by: Chloe Robichaud | Duration: 13 mins

Clara's overwhelming family can't understand her solitary life, wishing she would find someone to grow old with. Following her aunt's sudden death, Clara is put in charge of her pet. Little does she know that these are the first steps to an unlikely, but empowering, friendship.

The Ballad of Finn + Yeti

Competing in: Cinéfondation | Country of origin: U.S.A. | Directed by: Meryl O’Connor | Duration: 18 mins

A street musician goes dumpster diving and finds herself transported into a wild trash forest populated by a mischievous Yeti that forces her to confront her animal nature.

Yard Bird

Competing in: Short Film Competition | Country of origin: Australia | Directed by: Michael Spiccia | Duration: 13 mins

A young girl who lives in a remote wrecking yard takes on the local bullies when they travel out to torment her father.

View the press kit here.

Yardbird is also showing as part of the Dendy Awards for Australian Short Film program at Sydney Film Festival, so be sure to make the screening if you're in town for the night.

I hope these previews leave you feeling inspired and motivated to tell your own stories! You never know until you try.

Guest User 27/4/12 Guest User 27/4/12

'Contemporary Australia: Women in Film' now at GOMA

‘Who are your favourite directors? Who do you admire?’ It’s a question I’m asked from time to time by both people who I’ve worked side by side with whilst making films, and those outside of the industry who are kind enough to be interested in what I do and why exactly I choose to (still) do it. Thinking back on my mental notes of film heroes and directors whose work makes me want to do cartwheels in the street, it’s surprising, perhaps even appalling, how few of those directors end up being women, and even less so, Australian.

As a young pop culture obsessed child growing up in the Middle East, I grew up on a steady diet of Saturday morning cartoons, music videos, sometimes over the top but mostly charming American and British children’s television, deeply affecting melodramatic made-for-TV movies, and weekly VHS rentals my parents would bring home.

As a teenager who appreciated the levels of escapism that Hollywood cinema offered, I marvelled over the genius of Michel Gondry and Spike Jonze, envied the poetic and visually stunning subtlety of Terrence Malick, the romantic angst of John Hughes, the wonderfully neurotic, brilliantly art directed and nuanced farce of Wes Anderson, and then of course there were all the other men who helped educate my cinematic sensibilities: Tarantino, Woody, Paul Thomas Anderson, Bruce Robinson, Miyazaki, Mike Mills, Richard Curtis...

So it wasn’t a huge surprise to myself when as a twenty-something sitting in on an Australian Cinema class last year that I realised: no, I couldn’t list some of my favourite female directors with ease because did any of them exist? And if they did, which surely they do, why weren’t people making more of a big deal about them? And since I didn’t know where to start, how could I educate myself about the work already made, and being made, by women film practitioners in Australia?

Margaret Pomeranz whom you will know as half of movie critiquing TV power-couple Margaret and David, has answered these questions I had as a frustrated film student with her guest curation of ‘Women in Film’ as part of GOMA’s Contemporary Australian Women exhibit, currently running.

I think she has done an incredible job of hand picking some amazing national gems which not only showcase brilliant films by women depicting women but films that handle character studies of women from male filmmakers too. The films being showcased also signal the exciting emergence over the decades of women in other film production roles such as scriptwriting, producing, cinematography, art direction and editing.

(Image via news.com.au)

I guess you could call me a feminist in that I like the fact that women have made a significant contribution to film culture in this country, it’s something we ought to be proud of and celebrate. - Margaret Pomeranz

There are over 50 films being shown at the GOMA cinemas for this special program - ALL FREE SESSIONS! - and whilst they are all definitely worth attending here are some of my own recommendations based on the films based on personal biases and those that I’ve watched and found particularly memorable:

Look Both Ways (2005) Rated: M

Look out for: Sarah Watts’ endearingly worst-case-scenario obsessed hand painted animation, the chemistry between lead roles Justine Clarke and William McInnes (Watt’s husband). Lantana (2001) Rated: M

Look out for: an amazing all-star cast including Kerry Armstrong, Barbara Hershey and Rachel Blake; beautiful cinematography, which takes advantage of some truly breathtaking Australian landscapes; and original music by Paul Kelly.

Somersault (2004) Rated: MA15+

Look out for: a heartbreaking performance by Abbie Cornish, admirable art direction and poetic cinematography.

My Year Without Sex (2009) Rated: M

Look out for: Starring Sascha Horler and a wonderful performance as the youngest in the family by Portia Bradley, a comforting familiarity for those who live in the Western suburbs of Melbourne (the film will play out like a moving ‘Where’s Wally’ of places you may have lived in or visited yourself).

Beneath Clouds (2002) Rated: M

Look out for: Danielle Hall, who plays the protaganist Lena, a rare portrayal of a strong and determined young mixed race Australian girl who is actively seeking out and attempting to reclaim her personal history. Breathtaking cinematography observes both the quiet isolation of the country and inescapable bustle of the city with equal consideration.

Wasted on the Young (2010) Rated: MA15+

Look out for: an impressive young cast, an interesting look at the social hierarchy of teenage social groups and high schools, bold and compelling sound design and cinematography.

Blessed (2009) Rated: MA15+

Look out for: Frances O’Connor’s awe-inducing performance, familiar references to inner city Melbourne, a solidly impressive ensemble cast.

High Tide (1987) Rated: M

Look out for: a lead performance from a very young Claudia Karvan who is completely mesmerising. Laura Jones’ original script which is bought to life here in this feature. Have a look at the entire program here. The program runs from now until 18 July 2012. This is a one-time opportunity to soak up some of the best Australian cinema produced over the last four decades, and possibly worth making an interstate trip for if you aren't a Queensland local. For more information on travelling to GOMA from out of state, have a look here, or if you want to weigh up your best local options for travelling there, click here. What films from the program have you watched before? Which ones are you looking forward to watching for the first time?

Guest User 30/3/12 Guest User 30/3/12

Women in Film: How to Win a Film Lion

By Nathania Gilson As a young filmmaker, I am often looking for advice and inspiration from every possible source, and trying to find new and viable ways in which to broadcast my work to an audience that will appreciate and connect with the work that I spend a large part of my life creating.

The Cannes Lions International Festival of Creativity is different to the official Film Festival in that it is focussed on communications, being responsible for bringing to light some of the most innovative forms of print, radio, film, multimedia and interactive campaigns across the globe such as the ‘Wilderness Downtown’ project made in collaboration with the Arcade Fire and Google, Nike’s ‘Write the Future’ campaign, and the loveable Old Spice commercials from 2010.

Considered the biggest communications event of the year, more than 28,000 entries from around the world are showcased and judged in competition for various categories that change every year in accordance to the ever-evolving nature of the industry.

People who have visited and lead seminars during the festival include names such as Mark Zuckerberg, Yoko Ono, James Murdoch and Patti Smith.

The Cannes Lions are admirable in that they are committed to recognizing and nurturing young talent in the industry: students, young creatives, emerging talent, directors. They strive to inspire, educate and develop the talent that the industry is essentially built on.

So how exactly does one get themselves involved in this wonderful festival?

I recently came across this terrific video from a past president at the Cannes Film Lions Jury, Mark Tutssel on how high to set your standards if you’ve got your eyes set on the Grand Prix for the Film category. He gives some excellent advice on how to set your standards high and encourages us to think outside the box to get noticed:

Although Mark gives advice here within the context of films being produced to represent and communicate the ideas and values of brands, I think a lot of his advice can be applied to other areas of film practise, and this insight into what the judges are actually looking for is invaluable.

For more information on the Cannes Lions festival, please visit the official website. If you’re interested in travelling to the event, there are discounted rates for people under 30 or students who are currently enrolled in full-time study which are definitely worth looking into. Get inspired by past entries or judges, have a look at what categories you can enter and how, and learn more about the festival and what they do.

Remember: festivals are a great initiative to create work to a deadline and try out an idea you’ve had tucked away in a corner of your brain for a while, but that shouldn’t deter you from giving it a go in your spare time with a group of supportive friends on a spare weekend or day off in the name of fun and trying something different. The irony of genius and good ideas is that they happen, more often than not, when you least expect them to.

Have fun, stay inspired and dream big!