Cirrus@Austlit

'Alexander Fox leaves the US to start a new life in the tiny nation of Andorra. Quickly drawn to a tall Australian blonde and the heartbroken daughter of the town matriarch, he finds himself the prime suspect in a murder investigation.' (Production summary)

'In 1810, emancipated English convict William Thornhill stakes a claim on 100 acres of land on the remote Hawkesbury River in New South Wales, only to find that a clan of Aboriginal people also lay claim to the land, as they have done since time immemorial.' (Production summary)

'In a Sydney suburb, two nurses, a housekeeper and a solicitor attend to Elizabeth Hunter as her expatriate son and daughter convene at her deathbed. In dying, as in living, Mrs Hunter remains a formidable force on those around her. It is via Mrs Hunter's authority over living that her household and children vicariously face death and struggle to give consequence to life.

'Estranged from a mother who was never capable of loving them Sir Basil, a famous but struggling actor in London and Dorothy, an impecunious French princess, attempt to reconcile with her. In doing so they are reduced from states of worldly sophistication to floundering adolescence.

'The children unite in a common goal - to leave Australia with their vast inheritance. Moving through Sydney's social scene, they search for a way to fulfil their desire. Using the reluctant services of their family lawyer Arnold Wyburd, a man long in love with Mrs Hunter, they scheme to place their mother in a society nursing home to expedite her demise.

'Panic sets in as the staff sense the impending end of their eccentric world. Mrs Hunter confesses her profound disappointment at failing to recreate the state of humility and grace she experienced when caught in the eye of a cyclone fifteen years earlier.

'For the first time in their lives, the meaning of compassion takes the children by surprise. During a ferocious storm Mrs Hunter finally dies, not through a withdrawal of will but by an assertion of it. In the process of dying she re-lives her experience in the cyclone. Standing on a beach, she is calm and serene as devastation surrounds her.'

Source: Fred Schepisi's website, http://www.fredschepisi.com/
Sighted: 09/08/2011

Based on the real events surrounding the trial of Lindy and Michael Chamberlain, who were accused of murdering their daughter Azaria at Uluru in Central Australia.

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.

Set in a Catholic seminary outside Melbourne in 1953, an era in which aspiring priests would begin training in their early teens for their eventual vocation, The Devil's Playground is a study not only of life in a religious school but also of its effects on the students' lives, morals, and mental states. The protagonist, thirteen-year-old Tom Allen, is constantly getting in trouble for his behaviour, which includes wetting his bed, showering in the nude, and always being late. Although he spends many hours in the chapel praying for guidance, his impure thoughts terrify him. The priests and brothers who teach him also struggle with their own desires, while at the same time arguing for greater discipline. Indeed, most of the order - postulates and priests alike - have doubts about their vocation. Through the loneliness, fear, and shame, Tom begins to ponder his future.

[Source: Australian Screen]