Caitlin Yeo

Valerie Taylor is a shark fanatic and an Australian icon – a marine maverick who forged her way as a fearless diver, cinematographer and conservationist. She filmed the real sharks for Jaws and famously wore a chainmail suit, using herself as shark bait, changing our scientific understanding of sharks forever.

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.

Vietnam War, 1966. Australia and New Zealand send troops to support the United States and South Vietnamese in their fight against the communist North. Soldiers are very young men, recruits and volunteers who have never been involved in a combat. On August 18th, members of Delta Company will face the true horror of a ruthless battle among the trees of a rubber plantation called Long Tân. They are barely a hundred. The enemy is a human wave ready to destroy them.

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.

Set against the lush backdrop of rural Laos, this spirited drama tells the story of scrappy ten-year-old Ahlo, who yearns to break free from his ill-fated destiny. After his village is displaced to make way for a massive dam, Ahlo escapes with his father and grandmother through the Laotian outback in search of a new home. Along the way, they come across a rocket festival that offers Ahlo a lucrative but dangerous chance to prove his worth.

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.