the program - Melbourne Underground Film Festival

Transcription

Festival Director: Richard Wolstencroft
Assistant Director: Christian Kloukinas
Festival Co-Ordinator: Jacinta Palmer
Sponsorship Director: Rob Innes
Program Curators: Richard Wolstencroft with
Jacinta Palmer + Christian Kloukinas
Shorts Program Curator: Jason Turley
Festival Design / Website: Cameron Lofthouse
Catalogue Design: Cameron Lofthouse + Monica Placella
Additional Curators: Michael Helms + Andrew Leavold
Festival Assistants: Adrian Maiolla
Events Manager: Jacelyn Hawkins
Proof Readers: Richard, Jacinta, Christian, Cameron,
Monica, Rebecca + Matthew
Contact Us
Melbourne Underground Film Festival
PO Box 822, South Yarra VIC 3141, Australia
info@muff.com.au / www.muff.com.au
Box Office
Embassy Opening Night $15
Noise Bar Closing Night $15
Special Uganda Charity Event $15
Single Session: Embassy / Glitch / Loop Bar / Noise Bar $10
MUFF X Exclusive Double Features: 2 films for $15
Wings Hauser (The Siege of Firebase Gloria / Skins)
Arnold Fanck (The White Hell of Pitz Palu / Storm over Mont Blanc)
William Castle (Homicidal / Mr Sardonicus)
Jack Ketchum (The Lost / The Girl Next Door)
Screening Venues
Embassy
1 Queensbridge Street
Sth Melbourne VIC 3205
Tel +61 3 9686 2944
Loop Bar
23 Meyers Place
Melbourne VIC 3000
Tel +61 3 9654 0500
Glitch
318 St. Georges Road
North Fitzroy VIC 3068
Tel +61 3 9489 9799
Noise Bar
291 Albert Street
Brunswick VIC 3057
Tel +61 3 9380 1493
MUFF X Sponsors
Thanks to all MUFF film makers
Special Thanks
Glenn Coburn, Ebony Butler, Kristen Condon, Matthew Clayfield,
Rebecca Sutherland, Jason Turley, Frank Howson, Michael
Helms, Andrew Leavold, Marina Lutz, Alex Ross Perry, Alex
Spalck, Cameron Lofthouse, Marco at Grolsch + Matt Stubbs
Other Thanks
Wings Hauser, Dallas Mayr, Nicolas Winding Refn, Mark Savage,
Colin Savage, Monica Placella, Ivan Kavanagh, Michael Parle,
Dean Bertram, Kel Dolen, David Parker, Bobby Galinski, Simon
De Bruyn, Rod Dogen, Ebony Butler, Jono Van Hest, Anywar
‘Richy’ Richards, Steve Jones, Joseph Kony, Bill Mousoulis,
Peter Christopherson, Jason ‘Rudeboy’, Jim Goad, Boyd
Rice, Douglas P., Lachy Hulme, James Wan, Stefan, Pam and
Katherine at SUFF, The Sitges Int Film Festival, Adrian Maolla,
Marcus at Glitch, Dan, Simon and Dave At Noise Bar/Railway
Hotel, Dan, Glenn and Nicole at Embassy, all the boys and gals
at Loop, JG Ballard - RIP, the spirit of Leni Riefenstahl, the
memory of William T Marshall, Bryce Menzies, Shaun Miller,
Antony I Ginnane, Bret Easton Ellis, John La Monde + Richard
Moore (and the whole MIFF Team) for shitting us to tears, in
general this time, in 09.
MUFF X is dedicated to Greg Maxwell - RIP, star of Pearls Before
Swine, and all round great guy. Your humour, love of life and
gregarious spirit is sorely missed by all who knew you - RW
Conditions
No reserved seating. Due to censorship requirements, entry
to films is restricted to persons 18 years and over. The festival
reluctantly reserves the right to withdraw, change and replace
programs without notice. Any changes are regrettable and
the festival apologises for any inconvenience. Ticketing and
Program details are correct at the time of publishing, check
website for updates. Phone bookings cannot be accepted,
send enquiries to: info@muff.com.au
Any errors in program can be clarified by writing to:
info@muff.com.au
Richard Wolstencroft (aka Colonel Kurtz, Idi Amin Ugandan Division)
Dear Reader,
Fuck you! For nigh on ten years MUFF has fostered an alternative
voice in Australian cinema and I can’t help but feel you all
haven’t done enough to support it! You line up dutifully at
Australia’s uber-festival, MIFF, as they peddle out the yearly
multi-culturally scented ‘pot pouri’ of world cinema. I admit
it…sometimes…I am with you. But when I see these large
lines at MIFF, or sold out sessions of films released two weeks
later at cinemas, I can’t help but feel what a bunch of lemmings
you all are! I don’t see nearly as many of your smiling mugs
at MUFF getting a taste of real independent, iconoclastic and
daring cinema. You have your culture fed to you like pap from
baby food jars, as you sit in your societal high chairs.
Well, at MUFF we say, like Frank Booth from Blue Velvet,
“Fuck that shit!” We are bringing you uncut, uncensored,
cutting edge Indy cinema with low budgets, big ideas, gigantic
ambitions and a ballsy attitude. It should be enough to make
the PC programmers at MIFF look like the bunch of pussies that
they essentially are.
I am writing this Director’s Statement up River in Northern
Uganda, near the mighty Source of the Nile herself. I have
been musing on snails crawling along straight razors, and
reading Kant and TS Eliot, and thinking about LRA leader
Joseph Kony. At the same time I’ve been shooting a movie
about crazy documentarians in the field, of which I am one.
Subjects before my lens have included; real life zombies,
Former Lords Resistance Army (LRA) members and the atrocities
they were forced to commit like murdering and cannibalizing
each other. Hannibal Lecter would have liked Northern Uganda
a great deal during the war. I have conversed with child
soldiers, former sex slaves, military gurus, religious leaders,
heads of NGO’s, etc.
Whilst in the wild we also launched TUFF – The Traveling
Uganda Film Festival – a MUFF initiative in conjunction with
Ebony Butler and Atlantic Star Productions. TUFF is the idea
of screening films free, in the open air, in former war torn
areas of Uganda and Africa, the idea being to reintegrate
people back into society via a Brian O’Blivion/Marshall
McLuhan style notion of the power of the video image. TUFF
was a big success, two full houses, and we hope to do further
screenings in Africa at a future time…
In the meantime MUFF X is here and it is a slightly reduced
and rushed affair in 2009, due to other film commitments
of my own. Taking on the mantle of this cause in 2000, when
I decided to start this festival with Rebecca Sutherland, was
a rushed decision, also. It was to affect the next decade of
my life, of which MUFF 10 is the symbolic and real culmination.
Every year after MUFF I say, “Never again”… as the time I’ve
put into it I could have made a new short film, video clip or
worked on a new script or whatever. But, every year as MUFF
time approaches I can’t help myself, I get ready to do it again.
I have a pathological hatred for the way the mainstream OZ
film Industry and its funding system has been run the last
twenty years. And I simply can’t help myself! I have to voice
again (…one wonders if in vain?) my unique form of criticism,
display my curatorial prowess, and offer my caustic advice.
I know this festival has not won me a lot of friends in some
circles. I’m sure, in fact I know, there are a few enemies out
there who really don’t like me, or this festival. But as
Mark Savage once described me in an interview, I am an
anti-sycophant; I can’t help but feel he’s right there. I can’t
stand sucking up to the untalented, ungifted, unvisionary
and unoriginal doyens and mandarins who have run a lot
of this Industry.
The good news is things are really beginning to change down
under. To hark back to the Phillip Adams harangue of last year,
it’s heartening to note that many of the 70’s Renaissance
players were totally ignored in the 60’s by what little Industry
we had then.
Many of the cinematic voices MUFF has fostered have been
ignored or not given the immediate support they deserve in
the 00’s. But the good news is that these voices are not going
away, in fact they are getting louder. So, I can say here and
now, that I believe we are standing at a unique historical
juncture in Australian cinema to rival that of 1970. Are we
going to step up to the plate and make the next ten years
of Aussie cinema dynamic, aggressive, successful and relevant?
Or are we going to continue to call mediocre telemovie shit
like Somersault, Black Balloon, Home Song Stories and My Year
Without Sex cinematic gold and thus steal defeat from the
jaws of Victory?
The funding bodies know the story, I do think they finally
get it, they just have to be willing to change their ways.
And we are here to help with some sage advice. We have an
Open Letter for you all to sign on the film Industry that we
will send to Federal Minister Peter Garret, and other ministers,
funding bodies, etc., after the festival. So what is in store for
ten years of MUFF? We have the super talented up and coming
filmmaker Steven Kastrissios (The Horseman) as our jury head.
We have a packed MUFF full of great new Aussie genre movies
like Carmilla Hyde, Eraser Children and Family Demons. We
have two world firsts in our Wings Hauser and Jack Ketchum
retrospectives. We have a great new Aussie documentary
Into The Shadows on Opening Night all about the very Industry
crisis of which we speak. We have Gary Sweet starring in our
Closing Night movie, The Tumbler, directed by Industry vet
Marc Gracie. We have Mini MUFF, Leni Riefenstahl, William
Castle and more. I also see former MUFF shorts filmmakers,
the Speirig Brothers, about to release their long anticipated
Daybreakers - a big budget action vampire movie with Ethan
Hawke and Willem Dafoe. So, as the 80’s song goes “the
future’s so bright, we got to wear shades”…
An interesting question is raised, too, after ten years of MUFF;
how did a small festival with non government funding and
limited financial support manage to be the first festival in
the world to play the works of the likes of James Wan, Greg
McLean, Scott Ryan, Steven Kastrissios, Stuart Simpson, the
aforementioned Speirig brothers, Dean Francis, an early MUFF
stalwart who has recently made a big budget genre piece Road
Train? I could go on...just about every important new Aussie
filmmaker has had their first films played here at MUFF. How
can this be if MIFF has all this funding, qualified selection
committees and countless Accelerator, or Propeller, or
whatever absurd name they call their new talent section?
How could an upstart festival like MUFF be able to say this?
The answer is simple. When we look at a film, we not only
judge the content of said film, we try and assess the individual
behind it, the talent on display with a small budget and the
potential that can be seen in it. We look at the personality
and drive of the auteur behind the film. Once we have done
this we accept the film. In fact I have played films at MUFF
after only meeting the filmmaker and liking the passion they
displayed about their work. That was enough. That’s what
we look for, that spark, that creative dynamism. And if these
simple common sense ideas and respect for passion could
be applied elsewhere in the Industry, well, the Industry could
be in for a boom time to rival any small film Industry anywhere
in the world.
The time is now MUFF filmmaking brethren. It’s time to put
aside petty differences and stand as one and seize destiny
by the cajones. Let’s make this God damn Australian Film
Industry back into what it once was, in fact, even surpass its
heyday! We have the talent, and MUFF shows it, uncensored,
raw, here and now…
C
It’s going to take guts, and as Winston Churchill once said,
“I have nothing to offer but blood, toil, tears, and sweat.”
But, if we are up to the challenge to change this Industry with
our uncompromising cinematic visions, Victory will certainly
be ours. MUFF has given me a gift over the years…a cause
worth fighting for, and for that I am grateful.
I leave you from Uganda with a quote from the great Colonial
explorer Henry Morton Stanley, who discovered Livingstone
all those years ago, that sums up exactly how I feel about the
MUFF journey and its many obstacles, “I did not see the whole.
I only saw this rock ahead of me; I only saw this poisonous
snake which I had to kill in order to take the next step. I only
saw the problem directly in front of me. If I had seen the
whole thing, I would have been too overwhelmed to have
attempted this.” But I am glad I attempted it, and here as
Heidegger might say, “it is”…
Enjoy the festival and join us for some sessions, and a Grolsch,
to celebrate ten years of independence and revolution in
Australian cinema.
Thank You! and Best Regards
Richard Wolstencroft
(Aka Colonel Kurtz, Idi Amin Ugandan Division)
M
Y
CM
MY
Into the Shadows
Into the Shadows
dir. Andrew Scarano + Phil Hignett / AUS
CY
CMY
K
For ten years MUFF has been championing independent and
underground filmmaking and highlighting the appalling state
of the Australian film industry. This year, we are proud to
screen Andrew Scarano and Phil Hignett’s feature documentary
(fresh from last year’s MUFF Academy), which follows these
exact issues with precision and integrity. The film tracks the
development of Australian film from its inception, through
the glory years of the 1970s to the travesty of today, and
emphasizes the need for a rebirth of independent cinema
and for new and revolutionary ways of screening films.
Featuring exclusive must-see interviews from Andrew Denton,
George Miller, Rolf De Heer, Scott Hicks, Bruce Beresford,
representatives from Disney, Sony, Madman and scores of
independent Aussie cinemas and festivals, and many many
more (including MUFF’s own Richard Wolstencroft!) as well
as amazing footage of landmark events such as the closure
of independent cinema Electric Shadows in 2006. You won’t
believe how much you’ll learn from this film. It’ll open your
eyes, move you, enrage you, and force you into action. Into
the Shadows is not only a fantastic film, it’s an important one
- for anyone who identifies with MUFF’s ideology, who despairs
at the state of our nation’s film industry, who laments the
dominance of the multiplex over the independent theatre, and
asks – why? And more to the point – what can we do about it?
Q&A with filmmakers to follow.
Context
dir: Stuart Simpson / AUS / 23 mins / Thriller
When a tabloid news journalist files a report on the rumours
of a supposed suburban “witch”, she finds herself dangerously
too close to the fire. A very dark and gruesome stalker/revenge
short film by Stuart Simpson.
M.C.G.F.C
dir: Anna Helme / AUS / 4 mins
The God of Fashion declares a dire and distressing fashion
crisis, and sends her trusted assistant to earth to rectify
the situation.
7PM / Sat 22 Aug / Embassy
Free Grolsch beer for every punter on Opening Night
The Tumbler
The Tumbler
dir. Marc Gracie / AUS
Bad things happen in the desert… A hardened Aussie ex-con
and an Afgani-Australian, lost and near death, stumble across
a military base in the barren outback. There they encounter a
strong-willed Yankee soldier who overcomes her initial doubts
and extends her faith to help the pair. But as events unfold
and tensions rise, it becomes clear that the pair may have
a more sinister agenda. Maybe the pair are not lost after all…
maybe they are exactly where they planned to be. To say any
more about this one would really be ruining it for you. Chris
Thompson’s electric script was the recipient of the prestigious
Victorian Premier’s Literary Award for Best Screenplay.
The Tumbler is an utterly exhilarating Oz film that boasts
beautiful production values and a stellar cast featuring Louise
Crawford (The Book of Revelation, Farscape), theatre star
Hazem Shammas in an eye-opening film debut, and headed
by Australian stage and screen veteran Gary Sweet (The Tracker,
Alexandra’s Project) as The Tumbler. This unmissable new
thriller is bold, gripping and controversial. Gary Sweet doesn’t
get much sweeter than this.
Herman: Am I Proud
dir: Sascha-Rene Karner / AUS / 10 mins / Documentary
Compelling doco built around the interview of a veteran
of the Nazi youth by his grandson, the filmmaker. Faced with
the moral standards of today’s society, the filmmaker asks
of himself and of us; should he be ashamed of his grandfather
for his Nazi past - and he says no, why should he be?
The Un-Australian
dir: Jon Lucas / AUS / 14 mins
What could a Real Estate Agent, a BMW Salesman, a Nurse and
a Morgue Assistant have in common? Football. Local team,
“The Roosters” are keen and passionate sportsmen. An
afternoon of beer and television has tragic consequences for
a bunch of inner city guys who love taking the game too far.
7PM / Sun 30 Aug / Noise Bar
Free Grolsch beer for every punter on Closing Night
New MUFF films from our call for entries - the winners
to be chosen by our esteemed jury. We have assembled an
amazing collection of new cinema from all over the world.
Incredible new OZ features, and dynamic OS entries, the
vanguard of indy and guerrilla cinema is found here at
MUFF. Check these out.
Steven Kastrissios
Jury Members
Steven Kastrissios (Jury President)
Jason Mac
Jacinta Palmer
Christian Kloukinas
Awards
Lifetime Achievement
Frank Howson and John La Monde
Oz
Best Australian Film presented by GAS
Runner Up Best Australian Film
Best Australian Director
Best Australian Male Actor
Best Australian Female Actor
Best Supporting Male Actor
Best Supporting Female Actor
Oz and International
Special Jury Prize
Best Guerrilla Film
Best Documentary
Best Cinematography
Best Screenplay
Best Short
Runner-Up Best Short
International
Programmed by Richard Wolstencroft with JP and CK.
Notes by Jacinta and Christian.
There are few festivals in Australia that can say they support
local feature films and keep a straight face. MUFF is one of
those rare festivals.
I’ve discovered that festivals, not distributors are the
‘gatekeepers’ of the industry. You can’t sell a film without
reviews and buzz.
As a director/producer, I completely understand that festivals
are not a charity and in order to survive, they must program
for box-office results. But for most programmers, this translates
to only selecting Australian films with established names
and/or million dollar plus budgets, which basically rules out
non-government funded projects, cutting off independent
cinema with new and unknown cast and crew.
I’ve had the pleasure of meeting many Australian filmmakers,
both established and upcoming talents working across all
genres and formats and the running theme has been this:
they did not receive recognition here until the tick of approval
from overseas.
The majority of our most treasured filmmakers are working
outside of Australia. Why? In search of financing is one reason.
But another is the rampant snobbery and not just for genre
cinema.
In order to slow the exodus of the great actors and filmmakers
and regain local box office, we need support all the way down
the chain. This doesn’t mean celebrating poor quality films,
but truly recognising good work across a diverse range without
needing quotes from Variety or Harry Knowles to have an effect
back home.
Best Foreign Film
Best Foreign Director
Best Foreign Male Actor
Best Foreign Female Actor
Despite these ramblings, I’ll leave you with this: a bitter,
divided industry will never be able to move forward. I’ve
recently learnt that Australian cinema commands a wealth
of respect internationally. If only we could see it ourselves.
Long live Aussie cinema!
Awards will be annouced
at the Closing Night
7PM / Sun Aug 30 / Noise Bar
Steven Kastrissios
Seeking Wellness
Seeking Wellness –
Suffering in Four Movements
dir. Daniel Schneidkraut / USA
9PM / Thu 27 Aug / Embassy
The Beautiful and Damned
The Beautiful and Damned
dir. Richard Wolstencroft / AUS / 2008
9PM / Sun 23 Aug / Embassy
Stunningly depraved masterpiece from writer/director Daniel
Schneidkraut, unfolding through a series of four equally
compelling and unbelievable segments. A group of gunmen
brutally assault and murder patients in a burns ward. An
unbalanced father shares his stories of childhood trauma with
his own kids during a Christmas to remember. A heart-broken
lover seeks out a truly unique form of self-harm. A student
conducts controversial research and an astonishing classroom
experiment. This film really has to be seen to be believed.
Funny and frightening, sharp-witted and shocking, disturbing
and disgusting - think Michael Haneke with a twist of David
Cronenberg and you might have something close to what
Schneidkraut’s film has to offer. MUFF can’t rate this one highly
enough on either concept or delivery; it’s 100% quality and
100% unmissable. No arguments – just go see it.
MUFF Festival Director Richard Wolstencroft’s first film in his
proposed modernist trilogy; a dark and affecting adaptation
of F. Scott Fitzgerald’s classic novel. A devious tale of greed,
decadence, and the death which seems implicit in every
act of indulgence, Wolstencroft’s re-envisioning is the first
contemporary adaptation ever attempted of a Fitzgerald
work, and he arrives at the material with genuine passion
and dynamism. The talented young cast is headed by Ross
Ditcham, as the arrogant and ultimately tormented playboy
heir to a family fortune, and Kristen Condon as his impossibly
selfish yet alluring lover. A string of stand-out supporting roles
include Wolstencroft himself as the peddler of a sextape with
a difference. Re-imagined as a contemporary Melbourne story,
and both shot and performed with fluid naturalism, the result
is a captivating and often shocking picture which deserves
your attention.
Re-living Off The Land
dir’s. Paul Murphy + Simon Best
9PM / Mon 24 Aug / Embassy
Ricky! The Movie
dir. Liam Firmager / AUS
A group of friends from Montmorency reunite after a decade
apart to finish Living off the Land, the dodgy shock horror
film they began together as teenagers on a VHS camcorder.
The twist is that the film is semi-autobiographical in nature;
it mirrors real-life events, featuring actual footage of the
guys’ ten-year-old incomplete project, and a cast of actors
essentially playing themselves. A fascinating and often
hilarious insight into the trials and tribulations of low-budget
filmmaking, this one is a must-see for aspiring filmmakers
and independent horror fans alike. Written and directed with
obvious passion by Paul Murphy and Simon Best, and featuring
an ensemble cast which includes Wally De Backer, who is now
better known as the ARIA Award-winning musician Gotye.
Bonus points for the casting inclusion of classic Ozploitation
director, the late Richard Franklin (Patrick, Roadgames) who
appears as himself in a rare cameo appearance.
Plays with Ricky! The Movie
In 1983 Ricky T scored a minor top 20 hit on the international
charts, but just 5 years later he had all but disappeared with
only rare sightings, each one more outrageous and unbelievable
than the last. But who was Ricky T? And why has he suddenly
reemerged from obscurity, 25 years after his original success?
If these questions are eating away at you, day in and day
out, fear not! MUFF can offer you all the answers, and more.
Directed by Liam Firmager, this gut-bustingly hilarious
mockumentary conducts an investigation into the life, loves
and losses of Ricky T, featuring testimony and reflections from
the musicians and celebrities who knew and (maybe) loved
him, including Wilbur Wilde, Tottie Goldsmith, Andrew G,
Ron Jeremy and many more. This one is worth it for many
of the celebrity interviews alone. Still a work in progress,
take the opportunity to get a preview sneak peek at Ricky!,
exclusively at MUFF X.
Plays with Re-living Off The Land
The Dinner Party
Family Demons
Eraser Children
Sleeper
The Dinner Party
dir. Scott Murden / AUS
Tomboys
dir. Nathan Hill / AUS
Sleeper
dir. Drew Brown / AUS
7PM / Wed 26 Aug / Embassy
What would you do if you found yourself at a dinner party
where people were planning on killing themselves afterwards?
Maybe you only know half the story… The Dinner Party,
written and directed by Scott Murden, was originally greenlit
by the Australian Film Commission but later dropped as it
was considered too controversial to be backed, making it a
perfect Oz addition to MUFF’s 2009 lineup. Starring Heartbreak
High’s Lara Cox and a sexy young ensemble cast against a slick
production design, this tight and twisted thriller is based on
true events which took place in suburban Canberra, events
so astonishing that they have to be seen to be believed.
Guarantees a gripping ride all the way to the film’s shocking
final act.
The film opens with a group of young girls, the titular
‘tomboys’, surrounding a bound and masked man. It soon
becomes evident that this man is a serial rapist, and that
the girls have kidnapped him to exact their revenge. But not
everything is as it seems… Shot mostly in darkness, set in
a dilapidated barn, sparsely lit and bound with a tense and
scary script, watching Tomboys can set the shivers going.
More than the average ‘rape revenge’ flick, director Nathan Hill
often goes for the fear rather than the shock, and the result
is a brooding, ominous flick with a great atmosphere and
a nice dose of violence thrown in for good measure. Should
be added to the list for fans of horror and fans of exploitation,
because there are never enough good examples of either genre
in this country and when one pops up, it needs to be grabbed
with both hands.
A necessity for fans of horror. A notorious killer escapes from
prison in order to track the object of his obsession, a beautiful
young woman, and to kill anyone who gets in his way. Writer/
director Dru Brown looks to the classics for inspiration and
delivers a slick, gorgeous-looking flick with all the necessary
ingredients for a great slasher and then some. The casting is
pitch-perfect: Kym Jackson heads the group of sexy young’uns
who fall prey to the killer, and Bruce Hopkins of Lord of the
Rings fame strikes gold as the smooth-talking detective
tracking the carnage. The ace card, however, is the killer
himself. Mute, fantastically violent and active only at nighttime, Resnik is menacing and an utter delight to watch. He is
played with perfection in a casting miracle by Scott ‘Raven’
Levy of WWE and WCW hardcore wrestling fame. Worth the price
of entry for his performance alone. If you want to support
quality Aussie horror (or if you want to see someone stabbed
to death with a toothbrush), Sleeper is the film to see.
Bad Habits
dir. Dominic Deacon / AUS
9PM / Tue 25 Aug / Noise Bar
Our protagonist, a beautiful nun (Sandra Casa), is married
to God. But don’t worry – they have an open relationship.
Watch yourself, though; this nun may be a little …
homicidally inclined. Australian premiere of this violent and
sexy nunsploitation film (an Australian first for the genre?)
produced locally around Melbourne. Updating the 1970s
European tradition of nunsploitation films (e.g. Berruti’s
The Killer Nun), debuting writer/director Dominic Deacon
doesn’t so much weave a story as shoot it out from a 12gauge. This is slick sensationalist psychodrama; it’s intelligent
and genre-conscious, as well as delivering balls-to-the-wall
sex and violence in true no-holds-barred Ozploitation style.
The performances, particularly the manipulative and erotic
relationship between the two nuns, are sure to get people
talking. Perfect addition to the MUFF X lineup, Bad Habits is
prescribed viewing for Ozploitation fans and evidence that
the genre has life in it yet – and right here in Melbourne too!
Come and get some.
Tomboys
Family Demons
dir. Ursula Dabrowsky / AUS
We all love our slice n’ dice slashers here at MUFF, but they
aren’t the only type of horror to whet our appetite. Ursula
Dabrowsky’s Family Demons turns away from the 1970s
American tradition and instead to the horror films of Japanese
and Korean contemporary cinema, adapting a subtler, more
psychological and often more terrifying approach to fear.
Family Demons follows a young girl named Billie (Cassandra
Kane), abused and held prisoner by her alcoholic mother
(played with terrifying finesse by Kerry Reid). When the
torment becomes too much for her to handle, she murders
her mother in a fit of rage… only to find out that her mother’s
spirit is intent on continuing her abuse from beyond the grave.
Very much in the spirit of The Grudge, Dabrowsky’s feature is
slick and scary, with a gruesome and kick-ass ending that you’ll
never see coming.
Eraser Children
dir. Nathan Christoffel / AUS
Part of official selection at the London Sci Fi Festival, this
will be the exclusive PREVIEW SCREENING of director Nathan
Christoffel’s feature debut, and it’s generating a lot of buzz
amongst genre fans. In a dystopia of useless products, prepaid dreams, and a system of ‘violations’ so invasive that if
you laugh too loudly you will be fined, Misner Corporation
has invented a new source of energy, generating a monopoly
on all facets of human existence. In the tradition of classic
dystopian stories such as Nineteen Eight-Four and Brazil, this
one is a must-see for all sci-fi fans (and we know there are
a lot of you out there). With a wonderful cast and stunning
production design, Eraser Children is a testament to what can
be accomplished in an independent film with a commitment
to passionate and original storytelling. Look out for dictator
Misner’s officers on the streets of Melbourne in the days leading
up to the festival, and make it down to the screening for a
very special interactive cinema experience. Need we say more?
Boronia Boys
Modern Love is Automatic
Boronia Boys
dir. Timothy Spanos / AUS
9.30PM / Tue 25 Aug / Loop Bar
Impolex
dir. Alex Perry / USA
Writer/director Timothy Spanos (Prisoner Queen) returns to
MUFF in 2009 with a new Oz comedy about two hapless mates
who have never left their (and director Spanos’) hometown
of bogantastic Boronia. Now that Kane and Darren are about
to reach their 30s, they decide that it’s time to leave Boronia
behind. But with their only prospects being in selling hard
rubbish at trash & treasure markets, will their simple dreams
ever be realized? A cracker of a comedy with lovably
larrakinistic performances by the film’s double act, (affably
played by Cameron Nugent and Tim Burns), Boronia Boys
screens at MUFF X to prove that Australian comedy ain’t dead,
and it ain’t in hiding. You just have to know where to look.
Both bizarre and poignant, the debut feature from American
director Alex Perry sees a WWII GI wandering through the
forest at the close of combat on an aimless and increasingly
surreal journey searching for undetonated German V-2 rockets.
He encounters strange characters and guides along the way,
amongst them a particularly memorable talking octopus.
Loosely inspired by Thomas Pynchon’s Gravity’s Rainbow, the
film’s loose structure and dreamlike (and often very funny)
imagery, coupled with strong direction and a fantastic natural
yet captivating performance by the lead, Riley O’Brian, makes
Impolex is like nothing else at the festival this year, and
probably like nothing else you’ve ever seen before. This is
why MUFF exists; to allow audiences to discover hidden gems
like this one. The film is definite must-see at MUFF X, and the
American director Perry is one to watch in the near future.
The festival is also privileged to have the director Perry
present; he will introduce the film and hold a Q&A session
following the screening.
Plays with The Marina Experiment
Modern Love is Automatic
dir. Zach Clark / USA
9PM / Wed 26 Aug / Embassy
What lies beyond apathy? This is but one of the many threads
tying writer/director Zach Clark’s quirky gem of a film together.
Lorraine (the mesmerizing Melodie Sisk) is an apathetic nurse
who seems wholly indifferent to the comings and goings
of those around her. In an attempt to shake up her daily
monotony, she decides to moonlight as a dominatrix, while
her tragically/hilariously delusional housemate Adrian (Maggie
Ross) inexplicably pursues a career in modeling. What begins
as amusing exploitative style-piece develops into a poignant
portrayal of ennui and sexual dysfunction. Subversive, sexy,
and surprisingly moving, it’s reminiscent of Russ Meyer and
John Waters with a dash of Todd Solondz on the side. The
performances are hilariously spot-on, the production design
is dripping with style, and the ending has a truly classic feel
to it – plus a little bondage certainly doesn’t go astray at
MUFF. Don’t miss this one, and find out what happens when
lethargy meets leather.
The Marina Experiment
dir. Marina Lutz / USA/AUS
A father documented the emotional violations his daughter
endured under his direction over the first sixteen years of
her life. After his death, she uncovers boxes of reel to reel
audio, super 8 film and over 10,000 photographs, all of her.
The daughter, also the filmmaker, presents the evidence.
MUFF X is thrilled to have American director Lutz in attendance
to present her award-winning autobiographical film to
Australian audiences. The film features original music by
Mick Harvey of The Bad Seeds, and in an exciting update,
Harvey will be hosting Lutz’s exclusive Q&A which will follow
the screening. Don’t miss this rare chance to meet and
converse with exciting international director Marina Lutz
and local legend Mick Harvey. Note: this event will be filmed.
Plays with Impolex
Impolex
Carmilla Hyde
Prey
Carmilla Hyde
dir. Dave de Vries / AUS
9PM / Fri 28 Aug / Glitch
Prey
dir’s. George Miller + Oscar D’Roccster / AUS
11PM / Fri 28 Aug / Embassy
World premiere before going onto a four-week season at
the Mercury in Adelaide. Millie is an awkward and socially
withdrawn virgin who shies away from the loud, intense world
of sex. What’s she doing at MUFF then, I hear you ask? Well when she falls prey to a cruel prank by housemate’s friends
and awakes naked and confused, her grip on a safe closeted
life begins to slip. Through hypnotic therapy she unleashes
not only her emotions but her wild and sexy alter-ego, Carmilla
Hyde. That’s more like it. Using her new persona, Millie now
has the perfect weapon to take down her tormentors… or will
her alter ego take over for good? A stylish urban update of
the classic Jekyll & Hyde story, directed with finesse by comic
genius Dave de Vries, who has previously written and drawn for
The Phantom, Batman, Green Lantern, and The Puppet Master,
and will be in attendance with his team. Q&A to follow
In April of 1987, two North Americans disappeared in the
West Australian desert on a 4WD holiday. They were never
seen alive again. Their abandoned vehicles and totally unused
supplies were found in sand dunes near an Aboriginal sacred
site--less than an hour away from the closest town. Two years
later, in May of 1989, the two men were both found dead of
natural causes, on the same day, 1000 miles apart back in
North America. Prey follows the story of 3 couples who set out
into the same desert and unluckily end up in the same area,
at the same time of year, with disastrous results. These three
couples, one from the USA and two from Australia, are about
to learn the horrible truth about what happens when your 4WD
holiday goes horribly wrong. In the desert, in the night, in the
dark. Preconceived assumptions about friendship, undiscovered
sexual liaisons, and false leadership come apart as the three
couples realize that the vacation’s over.
Uganda Special Event
Cry Freetown / Exodus
9PM / Fri 28 Aug / Embassy / $15
All proceeds to be shared with Friends of Orphans,
Uganda and Atlantic Star Productions.
Two devastating doco’s in one session by Sorious Samura,
a Sierra Leone filmmaker who documented atrocities in Sierra
Leone. CONTENT WARNING: features real footage of murder
and atrocity. Cry Freetown was released in January 2000. It is
a brutal and gripping portrayal of atrocities committed during
Sierra Leone’s civil war. Risking his life to film the systematic
murder of his fellow countrymen, Samura describes what he
calls “a nation that was being murdered, a country that was
dying, that was being left to die by the western world, by
the so called developed world.” Within four weeks of the film’s
transmission, plans were underway for the deployment of a
UN peacekeeping force in Sierra Leone.
In Exodus Samura traveled to Nigeria, Mali, The Sahara,
Morocco and Spain as he followed African exiles in their
attempt to make their way to the ‘promised land’ of Europe.
The film saw Samura meet some of those trying to make the
journey and follows their progress, whilst hearing of the
hardships compelling them to leave their native lands. Some
local Sierra Leonians even long for a return of a new form
of Neo Colonialism.
Be part of this Special MUFF Charity event at Embassy!
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of posters and flyers to stores, cafes and retail
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The Nigel Diaries (60 mins)
(The Making of Remembering Nigel)
7PM / Sun 23 Aug / Embassy
The Nigel Diaries is a documentary that chronicles the behind
the scenes of Frank Howson’s new feature movie “Remembering
Nigel” and features interviews and appearances by Howson,
best selling author J. Marshall Craig, music legend P.F. Sloan,
Bernard Fowler (of The Rolling Stones Band), Thea Gill (star
of “Queer as Folk”), Oscar Nominees Sally Kirkand and Michael
J. Pollard, Richard Wolstencroft, Eric Burdon, Oscar winners
Martin Landau & Mark Rydell, Damion Damizza Young, John
Savage, Bud Tingwell (in his last film performance) and others.
It is a funny and insightful observation of Howson’s struggles
to turn his MUFF award winning short film into a feature
length movie and follows his journey from Melbourne to Los
Angeles to work with some of the biggest names in the film
and music industries.
Oscar winner Martin Landau
An Open Letter on the State of the
Australian Film Industry
Drafted by Australian filmmakers,
industry practitioners and cinema-lovers
Draft 1: August 1, 2009
As members of the Australian film industry we can no longer
sit idly by and watch our nation’s cinema continue to slide into
critical and commercial obscurity. The Australian Government’s
bureaucratic infrastructure is failing the Australian film
industry, and it is unaccountable to anyone for its failure.
It invites feedback, but does not listen to it, and thereby
proves itself unaccountable. Its lack of response to criticism
when change is so obviously needed and should be actioned
is symptomatic of this unaccountability. We need new ideas for
innovation, rebirth and vitality in the Australian film industry.
We need to stand together, and be counted, in support of real
change in the local film industry and culture, and to bring
new ideas to bear on a system that has been out of control
for many years.
We demand change in the Australian film industry. The changes
we suggest are canvassed below.
The current, perpetual crisis in Australian film has been well
documented by the Australian media. Much coverage has
been afforded to the crisis on network television and in the
country’s newspapers, most notably in The Age, whose film
critic, the courageous Jim Schembri, has tackled the debate
head on. The issue of industry failure has also been covered
in alternative/grassroots venues and publications: the
Melbourne and Sydney Underground Film Festivals, The Bazura
Project on Melbourne’s Channel 31, the world-renowned cinema
journal Senses of Cinema, and countless cinema blogs. Two
independent documentary projects about the Australian film
industry crisis are currently being produced: Into the Shadows
and Nothing but the Struth. Last year, Film Victoria even held
a summit on the crisis called Mindshift. Needless to say, we
have seen no actionable changes. The recent appointment
of Robert Connolly to the board of Screen Australia bodes
well for positive change, as he, too, has been an outspoken
and constructive critic of the status quo, and rumours abound
of some positive changes in the wings. The industry crisis has
also been the subject of much obloquy in private discussions,
not only between filmmakers and industry insiders, but also
among members of the general public; those people who,
faced with the decision between seeing an American film
at the cinema and an Australian one, will doubtless turn
to their partner and say: “Better not risk it.” These people
want change: they want a dynamic and exciting Australian
film industry.
And we, the undersigned, think it is long overdue that we
gave it to them. Australian filmmakers, industry practitioners,
cinemagoers, and the mainstream and underground media
are all in agreement: there is major problem with our film
industry that needs to be addressed at both state and federal
levels. The issues concerning what to do about the continuing
failure of the Australian film industry have been hotly debated.
From these debates a consensus for action has been forming
over time, and its broad outline, and our demand that it be
acknowledged and addressed, is the reason we have compiled
this document. We wish to outline nine steps, (maybe we
need three more? like those of Alcoholic’s Anonymous or some
other recovery program), to wean Australian filmmakers and
the funding bodies off their addiction to un-entertaining,
uninteresting, unworthy movies. We insist on change in the
Australian film industry: even if only five of these nine steps
were to be actioned, it could well lead to a Renaissance once
again in Australian cinema, and not a continued fall from
grace out of the world cinema spotlight and increasingly
towards critical insignificance.
We make these suggestions humbly, and with the hope that
it open channels for real discussion and actioning of these
matters, that can follow the tabling and publishing of this
document. We wish only to encourage, foster and make
possible change in the Australian film industry.
Our demanded agenda for change is as follows:
Genre and Commercial Filmmaking
It is suggested that many, many more genre films be produced
in this country; more, indeed, than sensitive, politically correct
‘art-house’ fare that has been force-fed to the public since
the end of the 80’s. By genre we mean horror, action, sci-fi,
crime, comedy and erotica. We believe that an embrace of
genre filmmaking at the higher levels of film financing and
government decision-making will see those who work within
the Australia film industry embrace ideas of profitability and
marketability, especially beyond our shores. We want a national
and international cinema of genre that embraces commercial
values and has distinct markets in mind for the product.
By commercial we do not mean Spielberg, etc., (…though
if Australia produced a Peter Jackson or two, who would
complain?) We mean market and audience driven, i.e. genre.
Accountability
For too long in the Australian film industry the people who
make the decisions for the yearly flops and failures are not
in any way held accountable for their failures. There exists
a professional class who somehow consider themselves
beyond the failure or not of our film industry. Given that
they purely exist at the behest of our national cinema, this
situation should be promptly corrected. The names of board
and committee members behind funding decisions should be
added to the credits of government-funded films, listed there
as either executive producers or, even better, precisely what
they are: the persons responsible. That way, massive flops and
errors can be publicly traced to their source. Similarly, ongoing
reviews of the decision-making standards of the various boards
and committees should be initiated. The same accountability
should be applied to failed directors and producers who
haven’t had a hit since the 80’s. Accountability should not
be just based on financial success but also based on artistic
quality, i.e., the creative results, that way filmmakers who
produce work like Wake In Fright, Pure Shit, The Magician
and The Square, while not being financial hits, are clearly
artistic successes.
Supporting the alternative industry
The most popular and successful Australian films are very often
those that no one in Australia sees. They are privately funded
and tend towards either low-budget Ozploitation filmmaking
or difficult experimental, avant-garde and documentary work.
These films are confronting, both locally and internationally.
A new fund to support such already-established and emerging
independent talent is required. It is necessary to reward that
which is daring, confrontational and relevant. Rethinking and
rebooting Indivision with a much more daring brief, state
and federal funding bodies must combine in their efforts to
establish a $5 to 10 million fund. This fund should make seven
to ten $500,000 – $1 million features per annum, selected
by a regularly rotating board of Ozploitation, industry and
genre luminaries. Australia could produce eight to ten new
low-budget features yearly, with that number to expand as
their commercial success becomes self-evident. The aim?
To get new blood into the film industry each year. While not
all of these films will work, many will. Not all will have to be
Ozploitation. Indeed, some should be avant-garde works and
more challenging art films than are currently produced. From
The Horseman to The Ister, anything is possible. We must
turn work around quickly and cheaply with an ear to being
inventive and innovative.
Reward talent and success
Any filmmaker who enjoys a commercial or critical hit should
immediately receive funding for their next project, which is
to be produced within twelve months. The budget for this
second film must be significantly higher. The era of successful
filmmakers languishing in development hell for a decade or so
must end.
More money invested in the promotion
of Australian films
The establishment of an office within Screen Australia that
will promote Australian films both locally and internationally
is required.
An end to political correctness and
“Australian content” prerequisites
and biases in both the industry and
in funding bodies.
Speaks for itself really.
A celebration of the diversity of
techniques available to filmmakers
From low budget guerrilla films to large budget and special
effects-driven movies, all film forms must be celebrated.
A change in industry methodology
There needs to be a cultural shift within the funding bodies
that sees them move away from their currently prescriptive
role to one of discovery. Instead of imposing upon the industry
their own prejudices and biases, both about cinema and
otherwise, film finance bureaucrats must learn to search for
new ideas, styles, marketing and distribution opportunities
like producers, that they essentially are. They need to learn
to recognise innovation; learn to celebrate real diversity by
allowing for a slate of pictures than embrace all budgets,
genres and approaches.
Getting distributors involved in the
process of selection and approval for
new productions
This is key and would be greatly assisted by provisions making
it necessary to devote part of a film’s budget to be spent on
helping to promote a new Australian film more broadly. Also,
exploring how distributors can help and engage the Industry
further themselves, by for example, helping filmmakers
maximise and exploit new media and outlets for distribution
both here and overseas.
Thank you for your attention in this matter. An official reply
to the points raised here would be appreciated.
Signed
Richard Wolstencroft
And the undersigned…
(… you are invited to add your name to this document at
muff.com.au and by Sept 15 this document will be forwarded
to the various Ministers and funding Bodies.)
And Arnold Fanck: The Fascist aesthetic of Mountain Climbing movies
A Showman in the Cinema
This year MUFF takes a look at Arnold Fanck’s epic German mountain movies
of the 20s and 30s, all starring Leni Riefenstahl, his beautiful and
ultimately infamous leading lady. Riefenstahl left her acting career
behind to become a personal friend of Hitler, and a legendary filmmaker
of Nazi propaganda films such as Triumph of the Will. (MUFF anticipated
a revival of Riefenstahl’s career following Tarantino’s Inglourious
Basterds, which references Riefenstahl at every opportunity!) Riefenstahl
and Fanck’s early films are epics in every sense, operatically depicting
both the horror and the beauty of nature. To see them restored and on
the big screen is a rare privilege that MUFF is proud to present.
Showmanship, that is what is missing today from most movie theatres, some good old
fashioned showmanship. And who better to show us how its done than horror gimmick
master William Castle (1914 – 77). Castle was famous in the 50’s and 60’s for directing
films with many gimmicks which were ambitiously promoted, despite being reasonably low
budget B-movies. At MUFF 10 we will have some gimmicks of our own in store for you the
unsuspecting audience, so YOU have been warned. Come and see some of Castle’s classic
genre gimmick film pieces and think laterally how these ideas could be marketed in today’s
cinemas, and through new media. A new Tingler could await us all! We salute the genius
and innovation of William Castle at MUFF X!
MUFF X Exclusive Double Feature
Homicidal
dir. William Castle / USA / 1961
7PM / Wed 26 Aug / Glitch
William Castle
The White Hell of Pitz Palu
Storm over Mont Blanc
The White Hell of Pitz Palu
dir. Arnold Fanck / GER / 1929 / Silent
7PM / Tue 25 Aug / Glitch
A young married couple naively venture through the snow,
ignoring the implicit threats posed by the landscape. When
the husband Krafft (Gustav Diessl) arrogantly laughs in the
face of the mountain Pitz Palu, nature responds by burying
his young wife in an avalanche. Some time Krafft is now
traumatized, wandering the peaks of Pitz Palu alone in an
attempt to recover his wife’s corpse. A new married couple
(Leni Riefenstahl and Ernst Peterson) learn of Diessl’s troubled
past, and join his cause. But when the three of them become
stranded without supplies or shelter from the white hell of
Pitz Palu, will they escape or will terrible history repeat itself
for Krafft? In equal measures a celebration of the beauty and
wonder of the mountain landscape, and the terror and wrath
which will be incurred by the wild if humanity does not respect it.
S.O.S. Iceberg
S.O.S. Iceberg
dir. Arnold Fanck / GER / 1933
9PM / Mon 24 Aug / Noise Bar
An Arctic expedition with high expectations of tracking a
missing explorer sets out into the frozen wilderness. It is not
long before disaster strikes, however, and the awe-inspiring
landscape reveals its icy menace. The party is separated but
still continues onward in search of the missing Dr Lorenz,
crossing dangerous terrain and facing many unknown terrors
along the way. When Dr Lorenz’s wife (Leni Rienfenstahl) hears
of their trouble, she comes to the rescue via seaplane… but
will her reconciliation with her lost husband be snuffed out
forever by the perilous Arctic? Shot spectacularly on location
in Greenland, S.O.S. Iceberg features spectacular flying by
aviation legend Ernst Udet, who plays himself.
Mr. Sardonicus
9PM / Wed 26 Aug / Glitch
Craving for some more nightmarish extravagance, “my homicidal friends”? Join
William Castle for another slick tale of the macabre, this time for an old-fashioned
story where Castle explores the realm of ‘ghouls’ in London’s Victorian era. Under
mysterious circumstances Sir Robert Cargrave, a highly advanced neurosurgeon, is
appointed to cure the terrifying Baron Sardonicus of a horrible curse that has frozen
his face permanently into a hideous grin. The terms are deadly and unspeakable but
even if Cargraves rises to the challenge, are his methods advanced enough to cure
such an unearthly disfigurement? Find out in MUFF X’s exclusive double feature of
William Castle’s Homicidal and Mr. Sardonicus.
The Tingler
Storm over Mont Blanc
dir. Arnold Fanck / GER / 1930 / Silent
9PM / Tue 25 Aug / Glitch
In an isolated outpost atop the fearsome Mont Blanc, a lone
Observatory worker named Hannes (Sepp Rist) lives out his
days with minimal contact to the outside world. Two contacts
he does make are to a stunningly beautiful astronomer (Leni
Riefenstahl, naturally), and to an airplane pilot (aviation
legend Ernst Udet), on whose visits he depends for supplies.
But when Hannes’ observatory becomes under siege from a
snowstorm and he finds himself trapped, hungry and freezing
to death, will his two contacts battle through the elements to
answer his call for help? Breath-taking yet eerie visual beauty
overwhelm each shot of this magnificent mountain melodrama.
‘This time we have even a stranger tale to unfold... The story of a lovable group
of people who just happen to be… homicidal.’ Spine-tingling thrills and kills from
everyone’s favourite Master of Showmanship. Castle famously included a ‘fright break’
towards the end of the film; an ominous countdown giving patrons the opportunity
to leave the theatre if they were too scared to face the climax. The story of a
beautiful blonde turned psychotic killer, her strange desires and even stranger
relationships, still packs a hell of a punch after more than 45 years, and looks
gorgeous on the big screen. Jean Arless’ performance is to die for, and the ending
is unforgettable… if you can make it past the fright break, that is.
Mr Sardonicus
Leni Riefenstahl
Arnold Fanck
The Tingler
If you’ve ever wanted to know what would happen if you mixed David Cronenberg
with Ed Wood, well, do we have a surprise for you. Dr. Warren Chapin, a workobsessed scientist, spends his time studying fear. His discovery of ‘the Tingler’
(an organism which dwells dormant in the spinal cord of humans, rising to attack
in moments of true fear, only to be placated by the host’s scream) leads him down
a path of unknown terrors. What would happen if the Tingler escapes its host
altogether? If this fantastically zany concept isn’t enough for you, Castle also offers
up a stellar lead performance from Vincent Price, as well as his trademark personal
introductions to the audience, and a superb score (albeit brazenly ripped off another
thriller of the same year…). If you see one sci-fi thriller/horror about homicidal
spinal cord inhabitants this year, make it William Castle’s The Tingler. You won’t
regret it - as long as you remember to scream…
Embassy
1 Queensbridge Street
Sth Melbourne VIC 3205
Tel +61 3 9686 2944
VENUE
7PM
EMBASSY
9PM
SAT 22 AUG
SUN 23 AUG
MON 24 AUG
Opening Night:
Into the Shadows
Nigel Diaries
The Beautiful
& Damned
TUE 25 AUG
WED 26 AUG
THUR 27 AUG
FRI 28 AUG
SAT 29 AUG
Tomboys
Sleeper
The Marina Experiment /
Impolex
MacIntyre’s Underworld
Offspring
Ricky!/
Re-living off the Land
Modern Love is
Automatic
Seeking Wellness
Special – Uganda
Vice Squad
Prey
Family Demons
11PM
GLITCH
Loop Bar
23 Meyers Place
Melbourne VIC 3000
+61 3 9654 0500
Glitch
318 St Georges Road,
North Fitzroy VIC 3068
+61 3 9189 9799
7PM
The Siege of
Firebase Gloria
The White Hell
of Pitz Palu
Homicidal
The Lost
Red
9PM
Skins
Storm over
Mont Blanc
Mr. Sardonicus
The Girl Next Door
Carmilla Hyde
11PM
Noise Bar
291 Albert Street
Brunswick VIC 3056
+61 3 9380 1493
SUN 30 AUG
The Tingler
7PM
MINI MUFF 1
MINI MUFF 3
9PM
MINI MUFF 2
MINI MUFF 4
MINI MUFF 5
LOOP BAR
Boronia Boys
(9.30pm)
5PM
Noise BAR
MINI MUFF 6
Eraser Children
7PM
The Dinner Party
Burn City
Snuff
9PM
Deadly Force
S.O.S. Iceberg
Bad Habits
Closing Night:
The Tumbler
Curated by Andrew Leavold
“Reality can be boring. I like to put a little turbo power into my performance.”
Born Gerald Dwight Hauser, “Wings” earned his moniker on the gridiron field and was set
to be either a pro footballer or rock crooner before settling on acting. A five year
stint on hit soap The Young And The Restless led the ambitious Wings to the lead role
in the low-budget B actioner Vice Squad (1982); he was disturbingly believable as the
whore-whipping pimp Ramrod, and similar asshole roles followed, as did off-set stories
of Wings’ violent, alcohol and cocaine-fuelled misadventures. Settling down somewhat with
partner Cali, the Hausers eventually formed their own indie filmmaking company with Wings
directing the idiotic Skins (1994) amongst other low-budget action fare. Still a familiar
face on network TV and direct-to-DVD features, he’s most fondly remembered by trash
fanatics in his iconic Eighties video store essentials, Vice Squad and Deadly Force (1983)
included, in which his rule as King Asshole was unquestioned. We at MUFF are proud to
present for your edification:
The Siege Of Firebase Gloria (1989)
dir. Brian Trenchard-Smith
Cast: R. Lee Ermey, Wings Hauser, Robert Arevalo + Mark Neely
7PM / Mon 24 Aug / Glitch
Once again the Philippines doubles for the Ho Chi Minh Trail
in a war actioner much-praised but little seen since its release.
Aussie-based genre specialist Trenchard-Smith (The Man From
Hong Kong, Turkey Shoot) distils the Vietnam War to a tense
Cowboys vs Injuns scenario, with R. Lee Ermey, fresh from his
iconic appearance in Full Metal Jacket, and a clearly off-kilter
2IC (Hauser) on one side of the fort, and the Cong led by a
sympathetic Colonel (veteran Filipino actor Robert Arevalo)
on the other. Taut direction, claustrophobic action with morethan-regulation explosions, and the powerhouse performances
of Ermey and Hauser make Siege... one of the undisputed
classics of the Eighties’ Namsploitation cycle.
Skins (1994) aka Gang Boys/Gang Boyz
dir. Wings Hauser
Writers: Maria Dylan + Wings Hauser
Cast: Wings Hauser, Linda Blair, Cole Hauser + Talbert Morton
9PM / Mon 24 Aug / Glitch
A Hauser Family vanity affair featuring Wings - also on board
as co-writer, producer AND director - as an alcoholic father
uniting his family AND the Crips and Bloods against a neo-Nazi
gang of gay-bashing rapists. A total misfire on all counts
featuring Wings’ son Cole, wife Cali (wisely hiding in the
credits as “Dafna Galili”), Linda Blair wondering at which point
her career went to the dogs, and a ghastly Eighties B film
soundtrack which at no point sounds inappropriate, as the
whole sordid mess feels about ten or fifteen years too late.
Needless to say, no Wings Hauser Retrospective should be
without this hilarious, first-class howler.
Snuff: A Documentary about Killing on Camera
Paul Ferris
Deadly Force (1983)
dir. Paul Aaron
Writers: Ken Barnett + Robert Vincent O’Neill
Cast: Wings Hauser, Joyce Ingalls, Paul Shenar + Al Ruscio
“When the cops won’t, and the courts can’t...Stoney Cooper will
give you justice!” Riding the crest of Wingsmania after Vice Squad
(1982), Deadly Force returns Hauser to the junky-lined,
hooker-heavy streets of LA, this time as NYC cop Stoney Cooper,
avenging his best friend’s granddaughter’s death at the hands
of the omnipresent “X Killer”. Naturally Stoney’s a loose cannon
happy to wave his gun at a mobster or millionaire while leaving
a trail of bullet-riddled bodies behind him. If this sounds like
a tenth-rate Dirty Harry knockoff, don’t fret; it’s 100% pure
and joyous Eighties pulp, an ultra-violent, cartoonish revenge
fantasy dripping with Hauser’s ludicrous tough-guy dialogue
courtesy of Vice Squad’s writer and B-veteran Robert Vincent
O’Neill (Wonder Women, the Angel series).
Vice Squad
Welcome to a world of pimps, hookers and hard-headed cops.
A freelance prostitute known only as Princess is assigned by
the Vice Squad (a specialized police force hell-bent on cleaning
up the streets) to seduce and trap a psychotic killer named
Ramrod, played with depraved brilliance by Wings Hauser.
Shit hits the fan when Ramrod escapes his arrest and the Vice
Squad realise they’re up against something more dangerous
than the scum they’re used to cleaning off the streets. Vice
Squad is a ferocious and groovy slice of exploitation madness.
If you’re hungry for sex, violence and a shotgun full of
attitude, ‘come get some’ at MUFF X.
Wings Hauser in Deadly Force
Snuff: A Documentary about Killing on Camera
Snuff: a Documentary about Killing on Camera
dir. Paul von Stoetzel / USA / 2008
7PM / Tue 25 Aug / Noise Bar
Paddy Conroy
MacIntyre’s Underworld
7PM / Fri 28 Aug / Embassy
Before A Very British Gangster (Sundance Film Festival 2007),
controversial undercover reporter Donald MacIntyre produced
a series of British gangster documentaries, under the title of
MacIntyre’s Underworld, where he got up close and personal
with some of Britain’s most feared and dangerous gangsters.
MUFF X gives you a rare opportunity to view two stand out
episodes from this series, Vendetta and Get Conroy… Vendetta
– Paul Ferris, a man who earned the enmity of notorious crime
kingpin Arthur Thompson, gives MacIntyre the low-down on
the various feuds occurring between the rivaling gangs of
Glasgow. Get Conroy – MacIntyre makes a new friend, Paddy
Conroy, one of Britain’s most notorious gang leaders who had
just spent 10 years in prison and was released on early license.
Conroy must remain on his best behaviour otherwise the most
minor offence will see his ass back in the can, but Conroy’s
temper is tested when his rivals keep taunting him in public…
A riveting and disturbing look at snuff films and the history
of on-screen killings. Featuring interviews from FBI profilers,
film historians, and horror practitioners such as Mark L. Rosen
(producer of the ‘Texas Chainsaw Massacre’), the film poses
challenging questions: where does snuff end and cinema
begin? What is the connection between snuff and, say, deaths
in war footage? Snuff and pornography? Or, indeed, snuff
and documentary filmmaking? Intellectual query aside, this is
also your chance to see clips from a variety of very infamous
cult movies such as Snuff (1976), and Faces of Death (1978),
as well as unbelievable and horrifying clips taken from
real-life killing films, such as the tapes taken by notorious
serial murderers Leonard Lake and Charles Ng. Provocative,
informative, filled with amazing rarities and definitely not for
the faint of heart, don’t miss your chance to experience Snuff
on the big screen.
Burn City: a Journey into Melburn
and Australian Krump
dir. Rachel Main / AUS / 2009
7PM / Mon 24 Aug / Noise Bar
What is krump? Is it a dance? A style? A philosophy? A way
of life? Following the success of the 2004 film Rize, Burn
City tracks the development of krump, looking away from
its birthplace in Los Angeles and focusing instead on the
vibrant krump communities which have emerged throughout
Melbourne. Rachel Main’s documentary examines the physical
and spiritual aspects of krumping, through interviews, dance
footage and an all-round celebration of the new movement,
shot on location right here in Melbourne, from the suburbs
of Dandenong and Werribee to the centre of the city. Live
and exclusive krump performance to follow the screening.
Stand outs this year include Out, a local crime drama starring Chopper and Underbelly’s
Rob Rabiah. Matinee, an erotic exploration of method acting from the Netherlands and
Ramones are not dead, a rockumentary on die hard Ramones fans.
Jason Turley, Shorts Programmer.
Session 1
7PM / Sun 23 Aug / Loop Bar
Potential Employee
Session 2
9PM / Sun 23 Aug / Loop Bar
The Jesus Spoon
Serial Gardener
dir: Andrew Connell
Drama / AUS / 7 mins
Gardener turned serial killer, Jimmy
Kimble is finally in custody. The
Detectives have everything they need
except a motive for the murders.
The Jesus Spoon
dir: Craig Fox
Comedy / AUS / 7 mins
Gross-out comedy about two boys, a dog
turd and a decorative spoon that may or
may not have magical culinary powers!
Stars Ian Smith (Neighbours).
Potential Employee
dir: Andrew Dunstan
A nervous commerce graduate, an
excruciating job interview, things
are about to go VERY wrong.
The Surprise
dir: Gary Hegedus
When her husband is delayed at work,
his wife decides it’s a good time to
play up. All does not go according
to plan, what was going to be a night
of unadulterated adultery, turns into
a cat and mouse game of deception.
Reality Survivor
dir: Pauline Findlay
Mockumentary / AUS / 10 mins
Jimmy is dumped by his girlfriend and
decides to go on the reality TV circuit
to try and make something of himself.
Good Cop Bad Cop
dir: Brett Nichols
A New York City detective will stop at
nothing to bring his crooked conjoined
twin cop partner to justice.
CTRL+P
dir: Gohutan Swathasan
Ever had a stupid idea pop up in your
head at work? It’s late, the office is
deserted, what’s the harm?
Dog with Electric Collar
Dog with Electric Collar
dir: Steve Baker
Animation / AUS / 5 mins
The dog lives in the basement apartment
on a busy city street, incessantly
barking at anything that passes by the
window. That is, until its owner decides
to strap on an unforgiving electric
collar...
Sarah’s Jihad
dir: Zev Howley
Drama / AUS/ 18 mins
Sarah is a seventeen year old Australian
girl whose life revolves around, school,
her friends and boyfriend. After an
accident Sarah strikes up an unlikely
friendship with Aisha, an 18 year old
Muslim girl.
Ruthless Days
dir: Ivan Zelic
It’s Jakes last job, it’s been that way
for a long time. A Non-linear crime story
that packs a punch.
H
dir: Stephen Francis
Two friends argue about the eighth
letter of the alphabet while on their
way to work. What are they doing? and
why does it matter in the first place?
El Visitante
Fear
Tinglewood
Igor & Mal
Cane Cutter
Scorn
dir: Brent Armfield
Thriller / AUS / 6 mins
A Psychological look into what can go
wrong when a long term relationship
goes sour and one person can’t let go.
El Visitante
dir: Maisie Cohen
A young Spaniard with a vivid
imagination visits Australia but
finds himself quite lonely.
dir: Marina
Experimental Documentary
USA/AUS / 18 mins
A father documents the emotional
violations his daughter endured under
his direction over the first sixteen years
of her life. After his death, she uncovers
boxes of reel to reel audio, super 8 film
and over 10,000 photographs, all of
her. The daughter, also the filmmaker,
presents the evidence.
Igor & Mal
dir: Michael Kratochil
Distraught over the death of his younger
brother Mal, Igor visits a mysterious
suburban psychic, with the hope of
bringing Mal back to life.
Tinglewood
dir: Alexander Von Hofmann
Horror / AUS / 17 mins
When a family goes camping deep in
the Tinglewood forest, the last thing
they expect is company and a violent
struggle to survive the night.
Fear
Dir: Leilani Croucher
Trapped in a confusing world, young
Abigail is dragged on a journey to
discover who the girl with no face
is and how she died.
Monarch
dir: Shane Willis
A man trapped in a room with a caged
butterfly endures the CIA’s secret mind
control program, Monarch.
Binge
dir: Andrew Langcake
Mr Brown lives in cheap motels and
sells shampoo door to door. On the
first full moon of each month, he locks
himself in his room with a suitcase full
of whiskey and undergoes a terrifying
transformation.
Rikki
dir: Ben Kermode
Rikki thinks she has pulled off the big
heist. But when her dangerous past
catches up with her, not everyone will
be left standing.
Colony
dir: Michael Olson
Drama / Canada / 9 mins
Colony is a dystopian science fiction
short about the addictive and
destructive allure of power.
Cane Cutter
dir: Dustin Clare
Set over Christmas 1970, two friend’s
loyalties are tested. Shot on Super 8mm.
Session 3
7PM / Mon 24 Aug / Loop Bar
Ramones are not dead
Visit China
dir: Anthony Samangy
Experimental / USA / 12 mins
Visit China explores American
Consumerism through visual depictions
of the loss of Industry in Cleveland,
Ohio and its subsequent effect on our
global, social and individual states.
The Dark Side of War
dir: Paul Dinnerville
Based on the powerful true story
of a civilian contractor kidnapped
by insurgence in Iraq in 2004.
Session 4
9PM / Mon 24 Aug / Loop Bar
The Dark Side of War
The Community Cup
dir: Stratos Pavlis
Documentary / AUS / 25 mins
A Documentary about the Sacred Heart
community cup. A crap footy match
between the Espy Rockdogs and the
RRR-PBS Megahertz, watched by 20,000
people each year.
Ramones are not dead
dir’s: Suzy Ramone + Andrew Bunney
A non-stop rock ‘n’roll rollercoaster
ride into the world of those who love
and follow the Ramones...still.
Lucy wants to kill herself
1973
dir: Karen Flores-Alfaro
In a country full of inner turmoil
and chaos, Christina must resolve
her life in order to protect her family
and their future.
The Black Dog
dir: Shaun Katz
A young woman in a confused and
drug addled state drags the object
of her desire, her neighbour, into
her apartment to keep her company.
Through a Gash Darkly
dir: Carey Burtt
A peek inside the mindscape of a deathobsessed-conspiracy-theorist and occult
enthusiast.
The Decayed
dir: Josef J Weber
Horror / AUS / 13 mins
Three beautiful girls fall prey to a
psycho surgeon hell bent on finding
a cure from the deadly virus destroying
his body.
Dream of a Ridiculous Man
dir: Carey Burtt
Based on Fyodor Dostoevsky’s last short
story. Dream tells the tale of a man
bereft of meaning and purpose.
Tactile
Rule of the Thirds
dir: Dean Robb
There are three sides to every
story – yours, mine and the truth.
A multicultural film noir told from
three different perspectives.
Tip
dir: Neil Horton
Action / AUS / 5 mins
A car is racing down the road, why?
Is he being chased? Is he late for
something? The answer could be deadly.
Tactile
dir: Alex Watkins
We follow a nameless man around
his urban home as he seeks to transcend
his isolated existence.
The Decayed
Lucy wants to kill herself
dir: Andrea Brooks
Surreal black comedy about a suicidal
writer and her pet cat.
Cogitate
dir: Aaron Swann
A Young Man lies submerged in a
bathtub, blood pumping out horrible
gashes on his wrist. Objects in the room
trigger memories, which forces him to
decide whether or not to save his life.
You and I
dir: Luke McKay
In a state of despair, a deranged
madman justifies his motives before
taking the life of an innocent man.
Charleyville
dir: Emile M Smith
Vietnam, 1969. Two Australian
soldiers hold a suspected Viet Cong
for questioning. By day’s end, the two
men find themselves faced with answers
more revealing than anticipated.
Vulture Culture
dir: Christian Farrugia
Vulture Culture is a dark psychedelic
comedy which follows three
dysfunctional youths on their journey
to the local service station.
Session5
7PM / Wed 26 Aug / Loop Bar
Libido Ex Machina
Session 6
9PM / Wed 26 Aug / Loop Bar
Rufus
The Body Watchers
dir: Adam Spellicy
Burlesque meets B-Grade Sci Fi when a
peepshow stripper has a close encounter
of the Voyeuristic kind.
Clown’s Lament
dir: Gabriel Dowrick
This clown has come to the end of the
line. His only option is to confess his
love for another.
Light
dir: Shelley Semo
Charlotte is struggling to come to terms
with the darkness of her past, which
now threatens to destroy her future.
Higher Plane
Quantum Shorty
dir’s: Liam Firmanger + David Man
What do you do with the Golden Dream
when the world turns black and the
dream turns green...? You sing a little
tune – you’re bound to wake up soon.
One man’s journey through a world
of wake-ups – and the women who
love them.
Out
dir: Daniel Fox
After serving 10 years in gaol, Joel tries
to reconcile his family while doing what
he does best, dealing. He’s about to
learn he can’t have it both ways.
Rufus
dir: Rebecca Thomson
Mockumentary / AUS / 7 mins
What happens when a vampire after
an easy feed, a paraplegic woman with
an appetite for love and a documentary
filmmaker hungry for that award winning
expose all go out on a date together?
Libido Ex Machina
(Desire in the Machine)
dir’s: Josh Nelson + Rohan Spong
Experimental Narrative / AUS / 8 mins
Confined within a repressive convent,
sister Rosette is plagued by dreams
of a monstrous clockwork presence.
Desires are laid bare, and there will
be consequences.
Dirty Music
dir: Steve Murray
Musical / AUS / 6 mins
While cleaning up a crime scene in
a cabaret, Lincoln takes an ammonia
induced ride through the world of booze,
music and burlesque as the club comes
alive around him.
Matinee
dir: Jennifer Bell
Drama / NL / 34 mins
Actors Mariah and Daniel have an
onstage romance lacking spark. But
today’s matinee performance could
make both their careers. Daniel wants
to make big changes.
The Swallow
dir: Gabriel Dowrick
The Swallow is an ultra-violent
hyper-reality film about a boudoir,
its proprietor and his fall from grace.
Toak
dir: Jamie Wilson
Two strangers meet on a deserted
road, little do they know they are
two of a kind.
Michael
dir: Jason Saville
Michael features a couple of scenes
taken from a feature screenplay about
a teenager who comes to the city to
track down his older, runaway sister,
though finding something that you
believe will make you complete is never
as straightforward as one would hope.
Skye
dir: Jason Saville
In Skye, a young woman shows up
at a local basketball court looking to
reconnect with a young man she met
at a party. Back at his place, it becomes
clear that, with this woman, it’s about
time for some new moves...
Bad Day at Work
dir: Kole Dysart
A portion of a wicked man. A black
as ink comedy.
Higher Plane
dir’s: Travis Bigg + Anthony Defazio
Thriller / AUS / 17 mins
A wealthy businessman gets hold of a
mysterious box which seems to feed off
living organisms. Feeding the box allows
him to harness its hallucinatory powers,
but it soon becomes evident that his
sick addiction will lead to horrific
consequences.
Penmanship
dir: Christian Kloukinas
Comedy/Thriller / AUS / 7mins
Brian is a writer afflicted by a crippling
writer’s block. Struggling to find an idea
for his new book, Brian suddenly loses
his pen. What he finds is completely
unexpected and leads to a violent
moment of catharsis. Is this the birth of
a new idea, or something more sinister?
Curated by Michael Helms
At MUFF X we are extremely proud to present
what amounts to the first ever gathering
in one place of films based on the work
of American novelist Jack Ketchum. It’s
hard to believe that a year ago this
would not have been possible as several
of these films were still in production.
It’s perhaps even harder to believe that
it’s taken this long since the publication
of his first novel Off Season in 1980 for
there to be a Ketchum filmography but then
again, maybe not. Ketchum from day one has
been unflinching in his desire to map with
unerring attention to detail the violence
of both the physical and psychological
types that we humans can inflict on each
other. But here we are with a bunch of
films that are as emotionally hard-hitting
as they are faithful to the grim realities
presented in almost pathological detail
in Ketchum’s seriously engrossing texts.
The same writings that long ago entranced
Richard Wolstencroft and motivated him
to actually meet with Dallas Mayr (Jack
Ketchum is a pseudonym) and produce a short
version of Off Season (appearing here with
Offspring). Become a combatant, see all
these films and feel the attraction.
Offspring
Director/Producer: Andrew van den Houten
Writer: Jack Ketchum
Cast: Ahna Tessler, Amy Hargreaves, Erick Kastel, Jessica Butler,
Art Hindl, Spencer List + Andrew Elvis Miller
MUFF X Exclusive Double Feature:
The Lost (2008)
Director/Producer/Writer: Chris Sivertson
Producer: Lucky McKee
Cast: Marc Senter, Shay Astar, Alex Frost, Megan Henning,
Robin Sydney, Dee Wallace-Stone, Michael Bowen, Ed Lauter
+ Jack Ketchum.
7PM / Thu 27 Aug / Glitch
From the galvanizing opening sequence, your eyeballs will
be welded to the screen by The Lost, a superior serial killer
bio-pic that is also sure to singe your brain before you walk
away. But you might reasonably expect this as The Lost is Jack
Ketchum’s version of the life and crimes of Charles ‘Schmitty’
Schmid, a murderer who would now be lucky to get a cursory
mention on the Crime Channel much less be remembered from
the previous now obscure film to commemorate his activities.
Known as the Pied Piper of Tuscon in the mid-60s when he was
finally arrested, Schmid or Ray Pye as he’s known here, is the
epitome of molly coddled and drug fucked psychopath whose
own monstrous ego pushes him to murder and the mistaken
belief that he can get away with it while bragging about it.
Marc Senter who also earns an associate producer credit is
sensational as Ray Pye reportedly giving everyone a hard time
on set when the film was lensed in 2004 by refusing to step
out of character. From beneath his fake beauty spot Senter
lays out Pye’s derangement like a fresh bullet cartridge that he
dementedly slams into your head. Kill to see The Lost after all
how many modern films made from novels can lay claim to the
full support of their author? The Lost is that sort of rare beast.
Red
Red (2008)
dir’s: Trygvee Allister Diesen + Lucky McKee
Cast: Brian Cox, Noel Fisher, Tom Sizemore, Kyle Gallner,
Robert Englund, Ashley Laurence + Amanda Plummer
Low-key but haunting and ominous, Red like all of Ketchum’s
brutal and now swelling cinematic oeuvre delivers in many
unexpected ways. The tale of a lonely old man in a tiny
backwoods US town who has his best friend snuffed by a
smart arse teenager with a gun, Red traverses the mindset of
small town prejudice and fear as Cox as the wronged pensioner
seeks to address the situation and other demons from his past
when he attempts to push his problem through the local legal
system. Suffice to say it all ends in tears for everyone. Robert
Englund and Amanda Plummer are superb as an ignorant white
trash couple open to any form of corruption and Tom Sizemore
can be seen here in his last feature role just before he was
busted in 2007. See Red or be dead.
The Girl Next Door
dir. Gregory Wilson / USA / 2007
9PM / Thu 27 Aug / Glitch
Jack Ketchum
The Girl Next Door
Prosecutors called it ‘the most terrible crime ever committed
in the state of Indiana.’ In 1965, a young girl was brutally
murdered following months of unthinkable abuse from her
foster mother and the neighbouring children. Propelled by this
crime, which tore through the presumed innocence of suburban
America, Jack Ketchum developed a terrifying novel, which
in 2007 was adapted for the big screen by Gregory Wilson.
The master of horror himself, Stephen King, calls this movie
“the first authentically shocking American film I’ve seen since
Henry: Portrait of a Serial Killer”, and his bold recommendation
holds true. The undercurrent of menace during the film’s early
scenes soon rises to a tide of sickening violence. Beautifully
filmed and featuring a stellar cast led by Blanche Baker, don’t
miss the rare opportunity to view this thrilling and frightening
masterpiece in the cinema. It’ll remain in your mind long after
you’ve left the theatre.
PLAY
MUSIC
GAMES
DVDS
Offspring, the latest and perhaps greatest cinematic version
of a Jack Ketchum novel so far, is based on his second work
of the same title that was a sequel to his first book, The Off
Season. Both are based on the legend of Scottish degenerate
Sawney Beane and his family (who I first read about in an
early 70s edition of The Guiness Book Of Records) and are
concerned with the activities of a cannibalistic family
operating in isolated rural North America. Offspring shows
the resistance of abductees Claire and Amy who aren’t about
to let their children or themselves become digested by a
pack of rural cannibals without a fight. This action is contrasted against the behaviour of deadbeat Dad, Steve. With
the exception of the always busy Canadian Art Hindle (Porky’s,
The Brood, The Clone Master, Black Christmas) who is also listed
as Associate Producer, Offspring keeps it’s edge of reality with
an unknown but exceptional cast who are all soon to kick
on big time. Offspring was directed by the young producer of
The Girl Next Door, who also doubles on production duties here.
Both films were made by production company Modern Cine.
Offspring will be supported by a short version of The Off Season
produced/written and directed two decades ago by our very
own director Richard Wolstencroft. You’d have to be feral to
miss this blinding premiere.
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