The Australian film festival CinéfestOZ was started in 2007, inspired by a similar event in Saint-Tropez (hence the striking acute sign over the e-mail). During the following decade, the festival quickly became a popular event, with local audiences and people from the national film industry in beautiful association. The program is compact, yet eclectic, and focuses on a diverse range of Australian productions. Although CinéfestOZ takes place in a relatively small coastal town (Busselton, with 36 000 residents), it has a distinct reddish-
runner element, where new Australian films are presented in flashy premiere and compete for one of the biggest cash prizes in the film world, at 100 000 US Dollars.
At the other end of the scale we have short films like Karen Pearlmans After the Facts og The Beeman by Frances Elliot and Samantha Marlowe, both great audience favorites, and the sublime, heartbreaking 8 minute animated film Lost & Found by Andrew Goldsmith and Bradley Slabe – which, regardless of category, is arguably the most notable film in 2018.
In the wake of the worldwide MeToo campaign the global film industry has so decidedly turned the spotlight on women's experiences. "Gender balance" has now become key, and when the Venice Film Festival released its latest award category with only one film made by a female director (Jennifer Kent's The Nightingale) on the nomination list, the strong reactions indicated that there is still a long way to go – and that it is ending patience with old-time boys club chauvinism.
After the Facts is a homage to "real women and real work".
The importance of Oscar awards in global film history cannot be overstated, and the nomination of Rachel Morrison (Mudbound) for best photo this year excelled something that really deserved. . .
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