There are about 50 films here: I'm trying to put them in some sort of order. See also my longer alpha order list of best Australasian feature films .
Beneath Clouds (Ivan Sen, 2002) wr. Ivan Sen, dp Alan Collins; Damian Pitt, Dannielle Hall; Best Director, Cinematography AFIs 2002
My personal favourite: this shows what life is like for many rural (but not remote) First Australians - and also vignettes of their relations with (some) non-Aboriginal people. It's beautifully photographed - the director started as a stills photographer.
Lantana (Ray Lawrence, 2001) wr. Anthony Bovell; Anthony LaPaglia, Geoffrey Rush, Barbara Hershey, Kerry Armstrong, Rachael Blake, Vince Colosimo, Russell Dykstra, Daniella Farinacci, Peter Phelps, Leah Purcell, Glenn Robbins; AFIs 2001: best picture, direction, actor, actress ...
One of the best films ever written in Australia, this one allows an insight into half a dozen relationships of different kinds.
Wake in Fright (Ted Kotcheff, 1971) aka Outback (US); wr. Evan Jones, novel Kenneth Cook, dp Brian West, ed. Anthony Buckley; Gary Bond, Donald Pleasance, Chips Rafferty, Sylvia Kay, Jack Thompson, John Meillon
So dark in style that it goes beyond realism, this film, directed by a Canadian, presents a bleak view of life in the more remote parts of Australia (whites only).
Walkabout (Nicholas Roeg, 1971) wr. Edward Bond, novel James Vance Marshall, dp Nicolas Roeg; Jenny Agutter, Lucien John [Roeg], David Gulpilil, John Meillon; UK production about two white Australian children stranded in desert and helped to safety by young Aborigine
Another view of Australia from a foreigner - before we had any views ourselves - this remains admirably poetic - despite some Roegish exploitation.
The Goddess Of 1967 (Clara Law, 2000) dp Dion Beebe; Rose Byrne; Japanese man comes to Australia to buy his dream car
By far the best of the Japanese-meets-Australian films, this one was shot by Oscar-winning Dion Beebe. (The goddess is a Citroën DS.)
Proof (Jocelyn Moorhouse, 1991) Hugo Weaving, Genevieve Picot, Russell Crowe
Insightful take on relationships between men/men/women in Australia, this is beautifully structured, and just a bit metafilmic.
The Castle (Rob Sitch, 1997) wr. Santo Cilauro, Tom Gleisner, Jane Kennedy, Rob Sitch; Michael Caton, Anne Tenney, Stephen Curry, Sophie Lee, Wayne Hope, Tiriel Mora, Eric Bana, Charles Tingwell
Possibly the most popular Australian film ever (with Australians), it's actually cutting satire, but somehow also appeals to nationalism.
Malcolm (Nadia Tass, 1986) dp David Parker; Colin Friels, John Hargreaves
David Parker had a lot of fun making the gadgets for this one, a portrait of a 'special person' engagingly created by the dependable Colin Friels - and the late great John Hargreaves is in it.
Man of Flowers (Paul Cox, 1983) wr. Paul Cox, Bob Ellis, dp Yuri Sokol; Norman Kaye, Alyson Best, Chris Haywood, Sarah Walker, Julia Blake, Bob Ellis, Barry Dickins, Patrick Cook, Victoria Eagger, Werner Herzog
This is the best of the Australian 'art' films, in all the meanings of the word.
Idiot Box (David Caesar, 1996) wr. David Caesar; Ben Mendelsohn, Jeremy Sims, John Polson, Susie Porter; Kev and Mick rob a bank cos it seems like a good idea at the time
A sordid little tale; but a beautifully crafted film: it's what Caesar does.
The Last Days of Chez Nous (Gillian Armstrong, 1992) wr. Helen Garner; Lisa Harrow, Bruno Ganz, Kerry Fox, Miranda Otto, Kiri Paramore, Bill Hunter
Two sisters, but only one Frenchman - not to mention a father and a daughter - and my favourite 'tourism' scene.
Kiss or Kill (Bill Bennett, 1997) dp Malcolm McCulloch; Matt Day, Frances O'Connor, Chris Haywood, Barry Otto, Andrew S. Gilbert, Barry Langrishe, Max Cullen, Syd Brisbane
As I said about Idiot Box, it's a sordid little tale; but a beautifully crafted film. If it's not in my top ten, it'll have to be in the top twelve: Bill Bennett will prolly never make a better film, tho David Caesar might.
Jedda (Charles Chauvel, 1955) Ngarla Kunoth, Robert Tudawali, Betty Suttor, Paul Reynall; stolen generations story, with young Aboriginal woman raised by white family and torn between two cultures
The Noble man who is too Savage to live; and the little girl torn between cultures: an important film, and not just because it was the first to be shot in colour.
Jindabyne (Ray Lawrence, 2006) wr. Beatrix Christian; Gabriel Byrne, Laura Linney, Deborra-Lee Furness, Chris Haywood, John Howard, Max Cullen, Leah Purcell
It's possible to see this as (merely) a bourgeois relationship morality drama, but the (black-white) cultural clash (tho a bit separate - as is the thriller aspect) is worth attending to.
Long Weekend (Colin Eggleston, 1979) wr. Everett de Roche, dp Vincent Monton; John Hargreaves, Briony Behets; thriller
This was remade in 2008 with the same writer, tho I haven't seen the later version; the earlier is a truly remarkable film: creepy, surprising - and it has John Hargreaves: what's to not like?
Lucky Miles (Michael James Rowland, 2007) Australian release 19 July 2007
The best Boat People film, it also has fun with its Australian characters.
Gallipoli (Peter Weir, 1981) wr. David Williamson, dp Russell Boyd; Mel Gibson, Mark Lee, Bill Hunter, Robert Grubb, Bill Kerr, David Argue, Harold Hopkins
The ANZAC film we had to have: it's much better than it might have been; unforgettable ending.
Bad Boy Bubby (Rolf de Heer, 1994) Nicholas Hope, Claire Bonito, Ralph Cotterill, Carmel Johnson, Syd Brisbane
This is a European 'idea' film - similar to Herzog's Jeder für sich und Gott gegen alle. Most people will find the first fifteen minutes tough going.
The Big Steal (Nadia Tass, 1990) wr. David Parker with Max Dunn, dp David Parker; Ben Mendelsohn, Claudia Karvan, Steve Bisley, Marshall Napier, Tim Robertson; romantic comedy, revenge fantasy
Another charming film from the Tass-Parker partnership, about a young man and his Jaguar, and his father's Cedric (that's a car).
The Boys (Rowan Woods, 1997) prod. Robert Connolly, John Maynard; David Wenham, Toni Collette, John Polson, Lynette Curran, Anthony Hayes, Jeanette Cronin, Anna Lise
A very dysfunctional family, and a heinous crime: tough going.
Breaker Morant (Bruce Beresford, 1980) dp Don McAlpine; Edward Woodward, Jack Thompson, John Waters, Bryan Brown, Allan Cassell, Terry Donovan, Charles Tingwell, John Waters
Aussies against the Boer (and the British) - fine performances, sustained seriousness.
The Cars that Ate Paris (Peter Weir, 1974) wr. Peter Weir, dp John McLean; Terry Camilleri, John Meillon, Chris Haywood, Max Gillies, Kevin Miles, Tim Robertson, Bruce Spence; thriller
The finest of Australian gothic.
Cosi (Mark Joffe, 1996) wr. Louis Nowra; Barry Otto, Ben Mendelsohn, Toni Collette, Pamela Rabe, Jacki Weaver, Paul Chubb, Colin Hay, David Wenham, Colin Friels, Aden Young, Rachel Griffiths, Kerry Fletcher
Based on Nowra's own experience working in a loony bin, this provides an opportunity for great performances from a large number of Australian actors: I think it's Wenham's best work.
Crocodile Dundee (Peter Faiman, 1986) Paul Hogan, Linda Kozlowski, John Meillon, David Gulpilil
I hardly need to tell you about the most successful Australian film ever.
The Devil's Playground (Fred Schepisi, 1976) dp Ian Baker; Simon Burke, Arthur Dignam, Tom Kenneally, John Diedrich, Sheila Florance, Nick Tate
Catholic culture oppressing both the priests and the boys in a seminary.
Dirty Deeds (David Caesar, 2002) wr. David Caesar, dp Geoffrey Hall; Bryan Brown, John Goodman, Toni Collette, Sam Neill, Sam Worthington, Felix Williamson, Kestie Morassi; Best Production Design, Costume Design AFIs 2002
The Mafia - and John Goodman! - in Australia; and Bryan Brown does not get acted off the screen: all good fun.
Don's Party (Bruce Beresford, 1976) wr. David Williamson, dp Don McAlpine; Ray Barrett, Claire Binney, Pat Bishop, Jeanie Drynan, John Hargreaves, Harold Hopkins, Graham Kennedy, Graeme Blundell, Veronica Lang, Candy Raymond
From a David Williamson play, this offers a comedic take on bourgeois life with boozing, sexual shenanigans, and party politics - in the context of an election party meant to celebrate a left-wing win.
Moulin Rouge (Baz Luhrmann, 2001) ed. Jill Bilcock; Ewan McGregor, Nicole Kidman, David Wenham, John Leguizamo
Spectacular! Baz will never make a better film, or have a better editor: Jill Bilcock.
Mullet (David Caesar, 2001) wr. David Caesar; Ben Mendelsohn, Susie Porter, Andrew S. Gilbert, Belinda McClory, Tony Barry, Kris McQuade
Young man returns to country town, but, more to the point, to his mildly dysfunctional but basically loving family.
Muriel's Wedding (P. J. Hogan, 1994) Toni Collette, Bill Hunter, Rachel Griffiths, Sophie Lee
A (melodramatic) comedy, so not particularly realistic; but deservedly memorable. 'You're terrible, Muriel.'
My First Wife (Paul Cox, 1984) wr. Bob Ellis; John Hargreaves, Wendy Hughes
It's only about a guy cracking up over the loss of his wife, but bringing together the brilliance of Ellis and Hargreaves and Cox's conviction makes it impossible to ignore.
Newsfront (Phillip Noyce, 1978) wr. Phillip Noyce, orig. script Bob Ellis, dp Vincent Monton; Bill Hunter, Wendy Hughes, Gerard Kennedy, Chris Haywood, John Ewart, Bryan Brown
I'm trying to think of a better film from the 1970s, but can't. This has religion breaking up families, an ugly American, and it's a dramatised doco of the newsreel wars of the 1940-50s. Plus my friend Sharon as an extra in the water polo scene - right next to Gerard Kennedy.
Once Were Warriors (Lee Tamahori, 1994) Temuera Morrison, Rena Owen; NZ
Temuera Morrison does some real acting in this: apparently it cost him. Kitchen-sink.
The Piano (Jane Campion, 1993) Holly Hunter, Anna Paquin, Sam Neill, Harvey Keitel, Kerry Walker, Genevieve Lemon
Campion's crazy idea for a big film paid off: she'll prolly never make a better: it is so impressive.
Picnic at Hanging Rock (Peter Weir, 1975) dp Russell Boyd; John Jarratt, Anne Lambert, Tony Llewellyn-Jones, Garry McDonald, Helen Morse, Rachel Roberts, Martin Vaughan, Jacki Weaver
The basic idea - a parallel universe, or something - is nuts, but it makes for a slightly creepy and very beautiful film. Much better than anything Weir has done since he's been slacking off in Hollywood.
Rabbit-Proof Fence (Phillip Noyce, 2001) dp Christopher Doyle; Everlyn Sampi, Kenneth Branagh, David Gulpilil, Tianna Sainsbury, Ningali Lawford, Laura Monaghan, Deborah Mailman, David Ngoombujarra; Molly Kelly and Daisy Kadibil appear briefly at the end
This is the Stolen Generations film we had to have: it's an emotional experience.
Radiance (Rachel Perkins, 1999) Deborah Mailman, Rachael Maza, Trisha Morton-Thomas
Another Louis Nowra play very successfully transferred to the screen.
Razorback (Russell Mulcahy, 1984) wr. Everett de Roche; Gregory Harrison, Arkie Whiteley, Bill Kerr, Chris Haywood, David Argue, Judy Morris
Can be seen as an OTT melodramatic gothic romp, but it's set apart by a number of things, and especially the photography of Dean Semler.
Romper Stomper (Geoffrey Wright, 1992) Russell Crowe, Daniel Pollock, Jacqueline McKenzie
Anyone who runs Russell Crowe down hasn't seen this film. Just in case you don't already know: it's has neo-Nazis, inter alia.
Shine (Scott Hicks, 1996) wr. Jan Sardi; Geoffrey Rush (AA), Noah Taylor, John Gielgud, Googie Withers, Lynn Redgrave
Here mostly because of the (deserved) Oscar.
Strictly Ballroom (Baz Luhrmann, 1992) dp Steve Mason; Paul Mercurio, Tara Morice, Bill Hunter, Pat Thomson, Gia Carides, Peter Whitford, Barry Otto, Antonio Vargas
Baz's first red curtain film: the start of something.
Sunday Too Far Away (Ken Hannam, 1975) dp Geoff Burton; Jack Thompson, Max Cullen, Robert Bruning, Jerry Thomas, Peter Cummins, John Ewart, Sean Scully, Reg Lye, Graham Smith, Ken Shorter, Lisa Peers, Ken Shorter
Such a realistic portrayal of a shearer's life in the 1950s that it might almost be considered to be a documentary, this film was messed about with by the distributors, so the couple of odd strands in the narrative may need some explanation.
Two Hands (Gregor Jordan, 1999) Heath Ledger, Bryan Brown, Rose Byrne, David Field, Susie Porter, Tom Long, Steven Vidler
Heath meets Rose. Gregor goes to Hollywood.
Vacant Possession (Margot Nash, 1995) Pamela Rabe, John Stanton, Toni Scanlan, Linden Wilkinson, Rita Bruce, Olivia Patten
You've never heard of this, which is a pity. Vacant possession = terra nullius, and it's actually set in modern Botany Bay. I hope it's not forgotten, and soon released on DVD; it's very good.
Walking on Water (Tony Ayres, 2002) Vince Colosimo, Maria Theodorakis, Nathaniel Dean, Judy Farr, Nicholas Bishop, David Bonney, Daniel Roberts, Anna Lise Phillips
Tony Ayres's first film has a gay subject: it's not claiming much to suggest that it's the best 'gay' film so far, as there are not very many.
The Adventures of Priscilla: Queen of the Desert (Stephan Elliott, 1994) Terence Stamp, Hugo Weaving, Guy Pearce
The other ABBA film: amazing that there are two (as well as the doco); this film has flair (and flares).
Chopper (Andrew Dominik, 2000) Eric Bana, Vince Colosimo, Simon Lyndon, David Field
Eric Bana is scary; apparently the real Chopper Read approved - which is even scarier.
Flirting (John Duigan, 1991) Noah Taylor, Thandie Newton, Nicole Kidman, Naomi Watts
One of Duigan's two films on sexual awakening in the Australian countryside, it has no fewer than four actors who went on to Hollywood.
High Tide (Gillian Armstrong, 1987) wr. Laura Jones; Lillie (Judy Davis) rediscovers abandoned child Ally (Claudia Karvan), who has been brought up by her paternal grandmother, Bet (Jan Adele); Frankie J. Holden, Colin Friels
Family melodrama: Davis makes it special.
Holy Smoke (Jane Campion, 1999) Kate Winslet, Harvey Keitel, Tim Robertson
I'm glad we have a film about the tendency to rush off to India for instant enlightenment. This one also sends up Australian families (cf. eg. The Castle). But the guts of it is Winslet v. Keitel in an encounter only Campion could have imagined (cf. In the Cut). (So it's three films in one, like Jindabyne, qv.)
Love Serenade (Shirley Barrett, 1996) dp Mandy Walker; Miranda Otto, Rebecca Frith, George Shevtsov
A personal favourite I wouldn't want to move too far up the list; I like the quirky portrait of Sunray, and the surrealist ending.
New: 19 May, 2007 | Now: 26 February, 2010 | garrygillard[at]gmail.com