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Year: 1972, 50 minsDVD/Streaming/Rental - NTSC/PAL
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Year: 1972, 50 minsDVD/Streaming/Rental
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With bold colour, harsh sound & heavy blows, Nigel Buesst’s film is a raw & fascinating insight into the ethics and aesthetics of low budget ‘70s Melbourne filmmaking. A young Aboriginal fighter, played by trained boxer Michael Karpaney, is torn between his career, his mates & the demands of a group of students campaigning for Aboriginal rights.
Featuring some fine performances, the film’s greatest asset is its unflinching & unsentimental gaze on the difficulties a blackfella must face in Australian society.
Director: Nigel Buesst Camera: Byron KennedySound: Lloyd CarrickEditing: Tony PatersonWriter: Harry Martin Cast: Micheal Karpaney, Joey Collins, Bethany Lee, Cliff Neate, Peter Adams, Peter Green, John Duigan
After graduating B Com from Melbourne Uni in 1960, Nigel Buesst sought work in the British film industry. He worked at Shepperton Studios as an assistant editor and on various other freelance assignments before returning to Melbourne in 1962 to work for the ABC at Ripponlea. Since then he's worked in various capacities, as film editor, cameraman, sound recordist, producer and director. He was particularly active in the '60s Carlton scene, made manifest in the doco Carlton + Godard = Cinema. He spent thirteen years as a lecturer at Swinburne University's Film and TV Department and five years as Director of the St Kilda Film Festival.
Nigel Buesst started out with a biopic about Squizzy Taylor and has returned to the form on several occasions, fascinated perhaps by the excitement and variety of other people's lives. Recent subjects have been Benny Featherstone, a memorable bandleader of the '30s, and Gerry Humphrys, the lead singer of The Loved Ones. There have been numerous shorts, mostly on 16mm and in collaboration with others, and a few features, the most ambitious being Compo in 1987. This filmed version of a play by Abe Pogos was screened at the 1989 MIFF and sold to BBC television. Nigel's main influences have been filmmakers who have achieved magic on minimal budgets, ranging from the British Free Cinema movement through to the French New Wave, to Andy Warhol in New York, Raul Ruiz, Werner Herzog, even the Dogma crowd. But he concedes that magic on any budget is alluring, like Mulholland Drive or Punch-drunk Love.
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