We recently teamed up with the Melbourne Women in Film Festival to give away 2x double passes to the Freaky, Fantastic and Feminist Opening Night, featuring the films Storytime, This Woman Is Not A Car and On Guard, as well as an afterparty.
Directed by Jub Clerc, written by Sylvia Clarke, Jub Clerc, produced by Belinda Kelsall
Two adventurous Kimberley kids wander deep into the mangroves at sunset, only to find that the terrifying campfire stories of the Gooynbooyn Woman may not be a myth after all. Clerc’s award-winning Indigenous horror film is based on her experience of growing up in the Broome region of Western Australia, where she was regaled with stories of the spirit of a woman that lived in the mangroves and stole children. But to Clerc and her Nyul Nyul/Yawuru community, the Gooynbooyn Woman is not just a legend, but a very real creature.
This Woman Is Not A Car (1982)
Written and directed by Margaret Dodd, produced by Jenny Jacobs, Vyner Gillespie
A mother from an outer Adelaide suburb drives her children to a distant beach in a station wagon. When she pulls over at a rural service station, imagination and reality collide through a nightmarish assault by car fetishists. Interweaving fear and fantasy, This Woman Is Not A Car reaches an absurd conclusion that highlights the objectification of women and their role in Australian life. Part of a new wave of feminist funk art, Dodd’s film sits alongside her acclaimed ceramic art pieces of the same theme. Together, they form an audacious commentary on masculinity and violence as well as an exploration of femininity and maternity.
On Guard (1984)
Directed by Susan Lambert, written by Sarah Gibson, Susan Lambert, produced by Digby Duncan
Four Sydney women team up to sabotage a supercomputer belonging to a disreputable biotechnology firm, while simultaneously making a documentary to send to television stations. Along the way, they must juggle their shared mission with the pressures of work, home, kids, and relationships. But when one of the conspirators loses her personal diary, their plans threaten to be derailed. Hailed as “dazzlingly unconventional” upon its original release, critics admired On Guard’s boldly feminist agenda and focus on the ethics of reproductive rights – a hugely topical subject in 1980s Australia, with increasing access to IVF technology.
(Featured Image: Still from This Woman Is Not A Car)