Caitlin Yeo

Valerie Taylor es una fanática de los tiburones y un ícono australiano, una inconformista marina que se abrió camino como buceadora, directora de fotografía y conservacionista intrépida. Ella filmó los tiburones reales para la película Tiburón (1975), lució un traje de cota de malla, usándose a sí misma como cebo para tiburones, cambiando nuestra comprensión científica de los tiburones para siempre.

The Chocolate Factory takes viewers from the sugarcane fields of Queensland to a dairy farm in Tasmania before revealing the slow journey of millions of Easter eggs and bunnies inside the Cadbury factories in Hobart and Melbourne.

'I want to make a film about women' is a speculative documentary love letter to Russian constructivist women. The new Soviet Union of the 1920s championed equality for women and great innovation in the creative arts. Until it didn't. Looking back at that time, history remembers the men who were celebrated and then shut down. But women were there, too, and they were influential, powerful and brilliant. 'I want to make a film about women' gazes in to a creative communal kitchen and watches these women transform it into a workshop, then a stage set, then a film, all the while juggling noisy men and the wolves of history. It imagines what the revolutionary women artists of the 1920s said, what they did, and what they might have created had it not been for Stalin's suppression.

Guerra de Vietnam, 1966. Australia y Nueva Zelanda envían tropas para apoyar a los Estados Unidos y a los vietnamitas del sur en su lucha contra el norte comunista. Los soldados son hombres muy jóvenes, reclutas y voluntarios que nunca han estado involucrados en un combate. El 18 de agosto, los miembros de la compañía Delta deberán afrontar el verdadero horror de una despiadada batalla entre los árboles de una plantación de caucho llamada Long Tân. Son apenas cien. El enemigo es una ola humana que está lista para destruirlos.

In the early years of cinema, editors were usually women. This short documentary looks at how they wielded power, and how their work was made invisible.

In the early years of cinema, editors were usually women. This short documentary looks at how they wielded power, and how their work was made invisible.

Suellyn thought the Department of Community Services (DOCS) would only remove children in extreme cases, until her own grandchildren were taken in the middle of the night. Hazel decided to take on the DOCS system after her fourth grandchild was taken into state care. Jen Swan expected to continue to care for her grandchildren but DOCS deemed her unsuitable, a shock not just to her but to her sister, Deb, who was, at the time, a DOCS worker. The rate of Indigenous child removal has actually increased since Prime Minister Kevin Rudd delivered the apology to the ‘stolen generations’ in 2008. These four grandmothers find each other and start a national movement to place extended families as a key solution to the rising number of Aboriginal children in out-of-home care. They are not only taking on the system; they are changing it…

A compelling personal journey with David Stratton, as he relates the fascinating development of our cinema history. David guides us from his boyhood cinema experience of Australia in England, where he saw the first images of this strange and exotic landscape via the medium of film, to his migration to Australia as a ‘ten pound pom’ in 1963 and onto his present day reflections on the iconic themes that run through our cinematic legacy. All of this reflects a passionate engagement in a uniquely Australian medium. Parallel and at the heart of the series is the story of an industry whose growing pains David has witnessed over a lifetime. Alongside David, the protagonists of this history are the giants of Australian cinema – both behind the camera and in front of it.

A compelling personal journey with David Stratton, as he relates the fascinating development of our cinema history. David guides us from his boyhood cinema experience of Australia in England, where he saw the first images of this strange and exotic landscape via the medium of film, to his migration to Australia as a ‘ten pound pom’ in 1963 and onto his present day reflections on the iconic themes that run through our cinematic legacy. All of this reflects a passionate engagement in a uniquely Australian medium. Parallel and at the heart of the series is the story of an industry whose growing pains David has witnessed over a lifetime. Alongside David, the protagonists of this history are the giants of Australian cinema – both behind the camera and in front of it.

A group of fathers confront the pain they have caused, and take hold of a chance to transform their most precious relationships.

Un chico que cree traer mala suerte a todos los que le rodean se dirige junto a su familia y dos amigos, a través de Laos, para encontrar un nuevo hogar. Tras un viaje lleno de calamidades a través de una tierra marcada por la guerra, para demostrar que no es mala suerte el chaval decide construir un cohete gigante para entrar en la competición más emocionante y peligroso del año: el Rocket Festival. (FILMAFFINITY)

With a sense of fun and playful naivety, My America challenges the anti-American rhetoric of the last decade to discover what America stands for in 2010 and what it means for billions around the world whose lives it impacts.

Laos: the most bombed country, per capita, on the planet. Australian bomb disposal specialist Laith Stevens has to train a new young "big bomb" team to deal with bombs left from the US "Secret War", but meanwhile, the local children are out hunting for bomb scrap metal. Vividly depicting the consequences of war with the incredible bravery of those trying to clear up the mess.