Ian Pringle

A professional forger comes under threat from a predatory crime ring in Ian Pringle's first feature in more than two decades.

A professional forger comes under threat from a predatory crime ring in Ian Pringle's first feature in more than two decades.

A professional forger comes under threat from a predatory crime ring in Ian Pringle's first feature in more than two decades.

스킨헤드의 리더격인 헨도 는 강한 열등의식과 자신에 대한 불만과 증오로 똘똘뭉친 산나이다. 이 집단에서 그의 오른팔격인 데이비 만이 그와 소통을 할 뿐이다. 어느날 그들은 게이브 를 만나게 된다. 그녀는 부유한 의붓아버지의 정신적 학대를 견디다 못해 집을 뛰쳐 나온지 오래다. 그녀는 우연히 선 세계에 발을 들여놓게 되면서 새로운 세계의 리더인 헨도의 여자가 되고 무뚝뚝한 데이비와 친교를 맺는다. 한편, 베트남민들이 마을의 맥주집을 강제로 인수하면서 사건이 터진다. 베트남민들이 동족들을 규합하여 강한 반격을 가해오자 수적으로 열세인 이들은 큰 타격을 입고 도망치는데...

Story of a young woman journalist who becomes enmeshed in the politics of the annexation of Morrocco from Algeria at the turn of the twentieth century.

Explores the conflicting worlds of a teenager and a mature woman as they discover the full force of their sexuality.

1950년대 호주에 사는 셀리아는 죽은 할머니를 통한 주술적인 세계에 대한 믿음과 숲 속에 사는 악마 호비야즈에 대한 상상을 갖고 있는 9세 소녀다. 셀리아는 사회주의자라는 이유로 옆집 가족과 어울리지 못하게 하면서도 옆집 여인을 유혹하는 아버지와 자신의 사랑하는 토끼를 강탈해간 경찰관을 죽이기 위한 의식을 치룬다. 경찰관이 빈 집에 들른 날 그를 호비야즈로 생각한 셀리아는 경찰관을 총으로 쏘고..

A young Russian man arrives in Berlin in search of a woman, but becomes entangled with two others one of whom falls in love with him and another who represents a classic Russian heroine like out of a novel from one of his countrymen idols.

The year is 1933. Ruby Rose (Melita Jurisic) is an Australian woman living with her Welsh immigrant husband Henry (Chris Haywood) in the Tasmanian highlands. Cut off from her superjudgmental family, for whom Henry had once worked as a humble farm hand, Ruby remains isolated in her tiny house. Superstitiously terrified of the dark, she begins developing her own folklore about the inky blackness that surrounds her each night; this folklore eventually develops into Ruby's own personal religion, created to ward off the evils that she imagines lurk in every corner. Only by venturing out of her house and rekindling her relationship with her embittered father is Ruby able to exorcise her fears. Almost hypnotic in its stark beauty, Tale of Ruby Rose is proof enough that writer/director Roger Scholes deserves to be far better known.

In this standard movie about a young doctor wandering across the U.S. in search of his lost ideals, Richard Moir is David Trueman, someone who has dreams of going to South America to practice medicine among the disenfranchised. Trueman does go, but after he arrives he encounters enough corruption and oppression to drive him out of there -- and into drugs. He decides to travel around the U.S., at a loss with himself and society, and eventually he meets Mary (Jo Kennedy), a young heroin addict who shares his angst about life. As the two commiserate, their bleak outlook lightens up a little, promising some fairer weather in the future. Jo Kennedy received a "Best Actress" Silver Bear award at the 1985 Berlin Film Festival for her portrayal of Mary.

In this standard movie about a young doctor wandering across the U.S. in search of his lost ideals, Richard Moir is David Trueman, someone who has dreams of going to South America to practice medicine among the disenfranchised. Trueman does go, but after he arrives he encounters enough corruption and oppression to drive him out of there -- and into drugs. He decides to travel around the U.S., at a loss with himself and society, and eventually he meets Mary (Jo Kennedy), a young heroin addict who shares his angst about life. As the two commiserate, their bleak outlook lightens up a little, promising some fairer weather in the future. Jo Kennedy received a "Best Actress" Silver Bear award at the 1985 Berlin Film Festival for her portrayal of Mary.

Two technicians manning a tracking station on the Victorian High Plains pursue opposite ways of coping with isolation. The ageing Cunningham seems to be rejuvenated by and obsessed with the landscape, while the younger Barker withdraws into the interior and technical world of the station.

Two technicians manning a tracking station on the Victorian High Plains pursue opposite ways of coping with isolation. The ageing Cunningham seems to be rejuvenated by and obsessed with the landscape, while the younger Barker withdraws into the interior and technical world of the station.