Cirrus@Austlit

In Perth, Western Australia, the Coolbaroo Club operated for 14 years (1946-1960) as a meeting place and a community focus for the local Aboriginal community. The Club was the only Aboriginal-run dance club in a city which practised unofficial apartheid. Continually harrassed by police with enforced fraternisation bans and curfews placed on them, the Indigenous population was also required to carry identity cards and deal with bureaucratic obstruction. During its lifetime, the Club attracted black musicians and celebrities from all over Australia and occasionally from overseas, among them Nat 'King' Cole, Harold Blair, and the Harlem Globetrotters.

Radiance tells the story of three women who reunite, after many years apart, for their mother's funeral.

A trilogy of short stories in which characters are haunted by memories, spirits and ghosts, and bewitched by the past. 'BeDevil captures the allusive quality of parochial, local, familial ghost stories, the sort of stories that are passed down through generations, that are repeated and embroidered upon so that eventually they are woven into quotidian discourse and a passing reference can evoke a complex texture of ghostliness' (Lesley Stern, Photofile).

A story within a story and overlaid with narration, Ten Canoes takes place in two periods in the past. The first story, filmed in black-and-white as a reference to the 1930s ethnographic photography of Donald Thompson, concerns a young man called Dayindi who takes part in his first hunt for goose eggs. During the course of several trips to hunt, gather and build a bark canoe, his older brother Minygululu tells him a story about their ancestors and the old laws. The story is also about a young man who had no wife but who coveted one of his brother's wives, and also of the stranger who disrupted the harmony of their lives. It is cautionary tale because Minygululu is aware that Dayinidi desires his young and pretty third wife.

The second story (shot in colour) is set much further back in time. Yeeralparil is a young man who desires the third wife of his older brother Ridjimiraril. When Ridjimiraril's second wife disappears, he suspects a man from another tribe has been seen near the camp. After he spears the stranger he discovers that he was wrong. Knowing that he must face the man's relatives he chooses Yeeralparil to accompany him during the ritual payback. When Ridjimiraril dies from his wounds the tribe's traditions decree that Yeeralparil must inherit his brother's wives. The burden of these responsibilities, however, is more than the young man expects.

In Prospect Bay, a remote fishing town in South Australian, the only thing that connects the two communities - the Goonyas (whites) and the Nungas (blacks) - is football. The underlying racism and class warfare threatens to make the team's greatest victories irrelevant, though. Two members of the team, Gary Black (the son of a white fisherman) and Dumby Red (the team's star player), are an exception, however, having been best friends since childhood despite their different cultural and family backgrounds. The jubilation that occurs when the team wins the local premiership is short-lived when Dumby is inexplicably overlooked for the 'best on ground' award. This incident subsequently sets off a chain of events that ends in tragedy.

[Sources: Weekend Australian 22-23 December 2001 pp.14-15 and Australian Screen]

Based on real life events that occurred in 1931, Rabbit-Proof Fence is the story of three mixed-race Aboriginal children who are forcibly abducted from their mothers by the Western Australian government. Molly (aged fourteen), her sister Daisy (aged eight), and their cousin Gracie (aged ten) are taken from their homes at Jigalong, situated in the Pilbara region of Western Australia, at the orders of the Protector of Aborigines, A.O. Neville, and sent to an institution at Moore River to be educated and trained as domestic servants. After a few days, Molly leads the other two girls in an escape. What ensues is an epic journey that tests the girls' will to survive and their hope of finding the rabbit-proof fence to guide them home.

Although they are pursued by the institution's Aboriginal tracker and the police, Molly knows enough about bush craft to help them hide their tracks. They head east in search of the world's longest fence - built to keep rabbits out - because Molly knows that this will lead them back to Jigalong. Over the course of nine weeks, the girls walk almost 2,400 kilometres before Gracie is captured attempting to catch a train. Molly and Daisy avoid capture but eventually collapse from exhaustion on the saltpans not far from Jigalong. When they wake, they see the spirit bird, an eagle, flying overhead. Its significance gives the girls the extra energy they need and they are able to make it back to their home.

'A set of mountain ranges in the outback, 1922 ... horseback country, and the Fanatic leads the two other white men, the Follower and the Philosopher, and the Tracker, in the pursuit of the Fugitive. Through massacre and murder the hunt continues, until the clear-cut notions of truth and justice are subverted and the questions become not will the Fugitive be caught, but what is black and what is white and who is leading whom?'

Source: Screen Australia.

Black Chicks Talking investigates what it means to be Black in Australia today. Over dinners of Indigenous gourmet cuisine, Purcell turns the camera on five Indigenous women, allowing them to speak candidly about the issues that have affected their lives, exploring themes of culture, identity, and denial.

The five women are Rosanna Angus, a community warden and cultural tour guide in her traditional Western Australian community of One Arm Point; Kathryn Hay, from Tasmania, who became the first Aboriginal Miss Australia; Deborah Mailman, an award-winning actress who was born and raised in Mount Isa; Cilla Malone, a mother of six who lives in Cherbourg (an Aboriginal settlement in southeast Queensland); and Tammy Williams from Gympie, a lawyer who aims to be the UN High Commissioner for Human Rights.

Based on real events that occurred in Australia at the turn of the century and adapted from Thomas Keneally's novel, The Chant of Jimmie Blacksmith concerns a young man of Aboriginal and European heritage who has been raised by missionaries. A hard and reliable worker, Jimmie is employed on a property in central-western New South Wales. Hoping to achieve assimiliation into white society, Jimmy marries a white girl, but instead this only increases the loathing and ridicule directed at him. In the winter of 1900, an argument ensues between Jimmy and the owner of the property, which leads to Jimmie and his uncle horrifically killing most of the man's family. Jimmie subsequently takes to the bush with his wife, baby, and younger brother, Mort. Pursued by the police and vigilante farmers, Jimmie sends his wife back with a message: 'tell them I've declared war.' He and Mort kill again, but the younger brother becomes increasingly troubled by their actions. Jimmie eventually goes on alone until his inevitable capture and hanging.

'On a lonely cattle station in the Northern Territory, a newly born Aboriginal baby is adopted by a white woman in place of her own child who has died. The child is raised as a white child and forbidden any contact with the Aborigines on the station. Years later, Jedda is drawn by the mysteries of the Aboriginal people but restrained by her upbringing. Eventually she is fascinated by a full-blood Aboriginal, Marbuck, who arrives at the station seeking work and is drawn to his campfire by his song. He takes her away as his captive and returns to his tribal lands, but he is rejected by his tribe for having broken their marriage taboos. Pursued by the men from Jedda's station and haunted by the death wish of his own tribe, Marbuck is driven insane and finally falls, with Jedda, over a cliff.'

(Synopsis from the Australian Film, Television and Radio School website, http://library.aftrs.edu.au)