Killer Native

When an amusement park is built on the grounds of an old cemetery, the dead rise to take revenge.

An emotionally devastated woman seeks comfort in her choice to end her life. As she faces death in the form of a spirit, she must decide to let herself go to fight to stay alive.

Moogai is Bundjalung for ‘ghost’, and it is precisely a moogai that intrudes on the quiet home life of Sarah, Fergus and their newborn baby.

In search of his missing daughter, a young father must deal with his destructive actions and fears or lose everything he has.

Teens of Kangaloola High are visited by a skull-faced Aboriginal apparition in their nightmares, and one by one they meet a violent end.

In 1931, three Aboriginal girls escape after being plucked from their homes to be trained as domestic staff, and set off on a trek across the Outback.

Imagine what it would be like if black settlers arrived to settle a continent inhabited by white natives? In 1788, the first white settlers arrived in Botany Bay to begin the process of white colonisation of Australia. But in Babakiueria, the roles are reversed in a delightful and light-hearted look at colonisation of a different kind. This satirical examination of black-white relations in Australia first screened on ABC TV in 1986 to widespread acclaim with both critics and audiences alike. This is the story of the fictitious land of Babakiueria, where white people are the minority and must obey black laws. Aboriginal actors Michelle Torres and Bob Maza (Heartland) and supported by a number of familiar faces from the time, including Cecily Polson (E-Street) and Tony Barry, who starred in major ABC-TV hits such as I Can Jump Puddles and his Penguin award-winning Scales of Justice. Babakiueria was awarded the United Nations Media Peace Prize in 1987.

Indigenous Detective Jay Swan arrives in the frontier town of Goldstone on a missing persons inquiry. What seems like a simple investigation unearths an intricate web of crime, corruption, human trafficking, and coordinated exploitation of indigenous people’s land. Jay must bury his differences with young local cop Josh, so together they can bring justice to Goldstone.

An American brother and sister move to Australia to manage a cattle station, but the brother's racist attitude causes problems. After hearing a message by evangelist Billy Graham on the radio though, he has a change of heart and learns to accept the Aboriginal people.

Young Aboriginal people who are traditional custodians in Victoria explore the Treaty process with questions, concerns and their opinions. Sharing their insights into what has been happening and what needs to happen.

They were Australia’s bad days. Men killed other men and laughed. All that was left for the children of the dead was to remember. If they had the strength.

Two drag performers and a transgender woman travel across the desert to perform their unique style of cabaret.

Outside the Australian town of Jindabyne, local man Stuart Kane is on a fishing trip with friends when they discover the body of a murdered girl.

A white collector of Aboriginal art gets a shock when the Mimi sculpture she purchased comes to life.

A portrait of an albino Aboriginal teenager, her feelings of alienation while at a convent boarding school, and her dreams of escape.

In a remote corner of the wild country, a bloody war rages. Travis is a bounty hunter with one last hope of redemption. Gutjuk is a young Indigenous man trying to save the last of his family. Together they embark on a manhunt, which unravels a secret that ultimately pits them against each other.

In her second film, MY LIFE AS I LIVE IT (1993), Essie Coffey returns to her home in Dodge City where she and the A-Team are running in the shire elections. Inter-cutting between 1993 and 1978, the film presents the fascinating contrasts of a society in transition. Some of the kids we met in the earlier film now have families of their own and are involved in education, art and sports. Others are drifting, trying to cope with alcohol and depression. Most significantly, community programs offer the possibility of dignity and self-determination. In this film, Essie shows us the Community Development Employment Program (CDEP) making a real difference. Although the CDEP has now come under attack from the Federal government, MY LIFE AS I LIVE IT portrays the CDEP as providing meaningful work and services to an impoverished remote community.

Australian documentary filmmaker Ian Darling re-examines the incidents that marked the final 3 years of Indigenous footballer Adam Goodes' playing career. Made entirely from archival footage, photos and interviews sourced from television, radio and newspapers, the film reviews the national conversation that took place over this period.

Loosely based on the filmmaker's personal experience, "Terra Nullius" is an impressionistic account of an eight year old Koori girl, Alice, growing up in a white adoptive family which denies her Aboriginality. The film examines how unacknowledged shame and fear passes from one generation to the next, from one culture to another. The last scene depicts a silent meeting between the young Alice and the adult Alice. In order to reclaim her life, Alice decides she must confront the pain and confusion of her childhood.

A poetic cine-essay about race and Australia’s colonised history and how it impacts into the present offering insights into how various individuals deal with the traumatic legacies of British colonialism and its race-based policies. The film’s consultative process, with ‘Respecting Cultures’ (Tasmanian Aboriginal Protocols), offers an evolving shift in Australian historical narratives from the frontier wars, to one of diverse peoples working through historical trauma in a process of decolonisation.