With a few months still left to go in 2019, and with those months, a wealth of Australian films yet to come (The Nightingale, Ride Like a Girl, Little Monsters, The Faceless Man, Nekromantik, The Naked Wanderer, Buoyancy, The Emu Runner), and with a few stragglers that have missed my eyes over the past few years, I’ve decided to wrap up this years #AUSgust – the Australian Film Month, with a glimpse into the current best Australian films of the past decade.
As there are still many Australian films that I’m yet to see, this isn’t a definitive list, but instead will be a changing one, with the final top 50 films list to be published in the New Year.
Until then, here is the current Top 50 Australian Films of the 2010’s.
50. Red Dog: True Blue – dir. Kriv Stenders – 2016
There is no more prolific Australian director than Kriv Stenders. In the 2010’s alone, he directed five feature films, a documentary, and then on top of that, worked on eight television series. I’m certain I’m missing a few here and there, but the guy works hard. Which is why a rare Aussie sequel, Red Dog: True Blue, stands out so much. The first film is a modern Aussie classic, but for my money, it’s True Blue that is the better film. Working as a prequel to the AACTA Award winning film, True Blue shows us what it means to grow up with a dog, and paints a curious picture of the history of Western Australia’s relationship with mining. Visually stunning, and packing just as much of an emotional gut punch as the first film, Red Dog: True Blue is a rare sequel that is better than the first film.
49. The Mule – dir. Tony Mahony – 2014
Oddly, there are a few entries on this list that have some truly nausea inducing scenes. But, none of the other entries will make you revisit your lunch as much as Tony Mahony’s The Mule will. Following reluctant drug mule, Ray Jenkins (co-writer, Angus Sampson), The Mule thrusts you knee deep in the torturous imprisonment he finds after returning home to Australia, after he has been arrested at the airport by sweaty and sleazy Detective Tom Croft (Hugo Weaving). Locked up in an airport motel, Jenkins has to play a waiting game as police officers watch over him 24/7, waiting for him to evacuate his bowels and provide them with the goods that’ll confirm his arrest. In one gruelling sequence, as a police officer sleeps in the corner, and Jenkins craps the condom covered drugs out, and terrified of being caught with them, he has to eat the shit covered contraband. This is as pitch black a comedy as you’ll ever find, and with brilliant performances all round, and taut direction, The Mule is as uncomfortable as it gets.
48. Downriver – dir. Grant Scicluna – 2015
Director Grant Scicluna’s tender and terrific drama, Downriver, slipped past audiences unfairly. With a stunning central performance from Reef Ireland as James, Downriver tells the story of a man who has just been released from prison after drowning a young boy when he was a kid. Returning to the scene of the crime, and suffering from trauma that has removed the memory of the event from his mind, James tries to piece together what happened to try and help give the boys grieving mother a chance to heal. As with Teenage Kicks, Downriver is a welcome addition to the pantheon of LGBTIQA+ Australian cinema, and just like Teenage Kicks, I can’t wish that Grant Scicluna (and Craig Boreham) were given more opportunities to make films in this country.
47. Ali’s Wedding – dir. Jeffrey Walker – 2017
Don Hany had a great decade of work, making a welcome name for himself on TV with roles in Picnic at Hanging Rock, Secret City, and Strike Back, but in the realm of cinema, he delivered two of the best performances in two of the best films – Ali’s Wedding and Healing. In Ali’s Wedding, Hany played Mahdi, the titular characters father, and while the film is mostly focused on the true story of Osamah Sami’s roller coaster journey to marry the woman he loves, it’s Hany’s performance that centres the heart of the film. Ever the reliable actor, Don Hany is tender, caring, supportive, and most importantly, understanding, as the father who wants to honour his religion, support his family, and yet, try and give his family the best life they deserve. On top of all of this, Ali’s Wedding is one of the most joyous comedies of the decade. A genuine treat of a film.
46. Broke – dir. Heath Davis – 2016
Outside of Kriv Stenders, there’s no harder working indie filmmaker in Australia than Heath Davis. With the triple punch of Broke, Book Week, and then Locusts, Davis has made a name for himself in his support and dedication to Australian independent film. Book Week is a comedic treat, and Locusts is a sand drenched crime thriller, but it’s Davis’ debut film, Broke, that stands up tall as the one to watch. A central performance from a never better Steve Le Marquand as the ex-footy player Ben Kelly is reason alone to watch Broke, with Davis’ direction and writing furthering the point why these are talents that you need to keep an eye on. Dragged down by a crippling gambling addiction, Ben tries to rework his life and free himself from the grip of gambling addiction. The true to life reality of gambling addiction, and the post-sports life that footy stars face, makes Broke a desperately real film, but one that’s peppered with welcome comedic moments.
45. Beast – dir. Sam McKeith, Tom McKeith – 2015
Sometimes filmmakers and actors appear like a spirit in the night, and then disappear before you know it, never to be seen or heard from again. This seems to be the case with directors Sam and Tom McKeith, and boxer turned actor Chad McKinney, with their film Beast. Like a few of the films on this list, Beastappeared and disappeared before anyone could witness the brilliant performance from McKinney as young Manila boxer, Jaime, or the superb taut direction from the brother team. There’s a welcome supporting turn from Garret Dillahunt who plays Jaime’s father, Rick, who is also his boxing trainer, and who forces Jaime to throw a fight. The rest of the film follows Jaime as he tries to escape his father and get himself on a safer path. This is a low down flick that deserved much more attention than it got.
44. Scare Campaign – dir. Cameron Cairnes, Colin Cairnes – 2016
Scare Campaignconsistently feels like a film that is waiting rediscovery. A fantastically economical film that simply does not waste any second of its eighty minute run time, Scare Campaign is a frightful feast of a film that has everything from manic killers, jump scares, joyous gore, and creepy comedy. It’s the kind of film that is best watched not knowing what you’re getting in for, especially given the plot skips around from one twist to another, always leaving you surprised. The Cairnes brothers have not had another film since Scare Campaign, and it’s a crying shame – this kind of talent and energy with horror films in Australia is a rarity. It’s never too late to discover this treat of a film and then get your friends on board with it.
43. Three Summers – dir. Ben Elton – 2017
The West Australian-centric, Ben Elton written and directed, folk music comedy extravaganza, Three Summers, is one genuine treat of a film. It’s full of sublime comedic moments – particularly from the always reliable Magda Szubanski to the ever entertaining Adriane Duff – that is set against one of the most beautiful backdrops in Australian cinema, the South West of Australia. Look, Ben Elton is obviously a comedic genius, and he doesn’t fault at all with Three Summers, but what really cements this film as a genuine great is his love and affection for Australia as a whole. As someone who lives down in Freo, and has called Australia home for decades, Elton is as Aussie as they come, and his care and attention to Indigenous rights makes Three Summersa genuinely inclusive comedy that can be enjoyed by the whole family.
42. Here I Am – dir. Beck Cole – 2011
The direction by Beck Cole, and the performances from Shai Pittman, Marcia Langton, and Vanessa Worrall, in Here I Am are reason enough to watch this superb film, but if there’s one scene that really makes this a ‘must see’ film, it’s this one: A room full of women, all survivors of abuse, or trauma, all suffering in their own ways, all trying to find a positive path in their life, unite in a room, singing over a bottle of booze and finding solace in each other. As the night rolls on, Betty Sumner’s Anita stands tall amongst her friends, and demands the radio be turned up high so she can sing along to Archie Roach’s Walking Into Doors. It’s one of the most powerful moments in Australian cinema, devastating with its beauty and warmth, and one that’ll leave you weeping. Here I Am is a gem of a film, and one that deserves rediscovery.
41. [censored] – dir. Sari Braithwaite – 2018
Out of all the films on this list, Sari Braithwaite’s [censored] might be the hardest to track down. It played at Perth’s Revelation Film Festival in 2018, and had scattered screenings around Australia, and has yet to resurface. Which is a crying shame as this documentary posits that we all should pay more attention to what is being omitted from the films and television that we watch. It asks us to consider the hyper-masculinity of cinema, of how the masculine eye demands we observe this, that, and the other, as men. It suggests that we question the minds that decide what we watch. Most importantly, it suggests that we reassess the literature that we’ve consumed and engaged with over the decades, questioning what we’ve become accustomed to. If you do get a chance to see [censored], don’t miss it.
40. Last Cab to Darwin – dir. Jeremy Sims – 2015
There’s a lot of reasons to watch this exceptionally powerful film about the need for voluntary euthanasia, with Jeremy Sims direction and Reg Cribb’s writing being right up there, but let’s shine a light on the performances from Michael Caton and Ningali Lawford. Sure, there’s a great supporting cast including Mark Coles Smith, Jacki Weaver, and Emma Hamilton, but it’s the central bond between Caton’s Rex, and Lawford’s Polly that helps make Last Cab to Darwin a truly brilliant film. Caton is one of Australia’s great actors, as was Lawford, and uniting them together in this film allows the two to show something that’s so often missing in cinema as a whole – a tender, caring relationship between two older people. There are countless moments that’ll have you reaching for the tissue box, but the final shot of Rex and Polly sitting together is one that won’t leave your mind quickly.
39. David Stratton: A Cinematic Life – dir. Sally Aitken – 2017
Sally Aitken’s documentary, David Stratton: A Cinematic Life lives in two formats: a info packed 100 minute film, and a more extensive and exhaustive two part miniseries. Both are essential viewing, with the film working as a celebration of the life of David Stratton – Australia’s best known film critic – as well as a welcome celebration of Australian cinema. For those who are fans of either Stratton or Australian film, then this documentary works as welcome traipse down nostalgia lane, with dalliances in history lessons and misty eyed moments of memory dives. As a welcome introduction to Australian cinema, David Stratton: A Cinematic Life is essential viewing. I highly recommend watching this alongside Dancing the Invisible, the documentary about editor Jill Bilcock.
38. Down Under – dir. Abe Forsyth – 2016
Look, I know, I know, a black comedy about the Cronulla riots sounds like the worst thing ever, but director Abe Forsyth manages to mine this horrific event for every possible laugh that it could possibly have. Turns out, there’s a huge amount of laughs to be had from making fun of racist morons. To spoil some of the comedic gold would be to rob Down Under of its welcome surprises, but I’ll throw a quick mention to the gloriously uproarious reveal of Ned Kelly loving drongo Ditch’s (Justin Rosniak) new tattoo. Yeah, look, a lot of the laughs are lowest common denominator stuff, but that doesn’t meant they don’t work. A perfect companion film to the equally dark Four Lions.
37. Healing – dir. Craig Monahan – 2014
And here we have the great Don Hany leading one of the more undervalued films of 2014, Craig Monahan’s Healing. Hany plays Viktor Khadem, a low-security prisoner working his way through the path of reform. Given the opportunity to work alongside a raptor rehabilitation centre, Viktor works with Matt Perry (the ever reliable and empathetic Hugo Weaving) to learn how to work with raptors and prepare them for release. Sure, the basic concept is simple – two broken individuals (one a man, the other a bird), come together to mend each other, creating a tender bond between two unlikely companions – but the execution is what makes Healing an exceptional experience. Hany needs to be given more lead roles like this.
36. Burning Man – dir. Jonathan Teplitzky – 2011
From one heartbreaker of a film to another, we stumble upon Jonathan Teplitzky’s long forgotten film, Burning Man. Taking the lead is import Matthew Goode, an English chef who is working through a fog of grief that has consumed him. When we meet him, he’s at his lowest, turning to sex workers to try and reinvigorate his life in some way, while at the same time, he’s trying to mend the fractured relationship that he has with his son. But, before you start thinking that this is a film about the fragility of men, or anything like that, Burning Man manages to quietly reveal itself to become something more tender and heartbreaking than expected. Matthew Goode has never been better, and the always appreciated Bojana Novakovic delivers a welcome support role.
35. Women He’s Undressed – dir. Gillian Armstrong – 2015
Orry-Kelly is one of Australia’s grandest and greatest exports – and a three time Oscar winner too – is given the much needed celebration of his life in Gillian Armstrong’s documentary Women He’s Undressed. If you’re unfamiliar with the life of Orry-Kelly, then sit down and watch Women He’s Undressed with a blank slate – you’ll be thankful that you did. But, for everyone else, the relationships that make up his life are why this film is well worth sinking into. Learning about the importance of Cary Grant in his life, and in turn, how he worked with stars like Bette Davis and Marilyn Monroe, you can’t help but wish that Orry-Kelly were held in higher regard. Why aren’t we talking about Orry-Kelly more? Why aren’t there buildings dedicated to Orry-Kelly? Women He’s Undressedworks to celebrate the man in a way that Australia has neglected to.
34. Jungle – dir. Greg McLean – 2017
You may know Greg McLean for his Wolf Creek films, and sure, they’re solid enough to be known for, but you should probably seek out McLean’s best film – Jungle. Not only does this film contain another great performance from Daniel Radcliffe – an actor who continually appears to push himself into roles that are as far removed from Harry Potter as possible – but it contains some of the most intense, gruesome, and squeam-inducing moments in a survival tale. Based on the true story of Yossi Ghinsberg, Jungle impresses thanks to McLean’s dedication to showing the difficulty that Ghinsberg faced when he found himself lost in the Bolivian jungle.
33. Teenage Kicks – dir. Craig Boreham – 2016
Teenage trauma and sexuality is explored in depth in Craig Boreham’s superb Teenage Kicks. Miles Szanto takes lead duties as Miklós Varga, a teen who experiences tragedy, and in turn, tries to navigate his grief, all the while grappling with his own sexuality. It’s rare to see bisexual relationships on screen, and it’s powerful to see Teenage Kicks display bisexuality so openly and delicately. There were a wealth of great LGBTIQA+ films in the 2010’s – I struggled to find places on this list for Remembering the Man, Holding the Man, and Gayby Baby, but they’re welcome mentions – but it’s Craig Boreham’s Teenage Kicksthat stands tall above all else. Also, as an aside, can we please put Shari Sebbens in more films? Thank you.
32. The Rover – dir. David Michôd – 2014
Part of the reason why The Rover is one of the finest films of the 2010’s comes at its gut punch of a final reveal. If you haven’t seen The Rover, then read Jonathan Spiroff’s review as to why you should. If you have seen it, then feel free to read on. The events of the film follows Guy Pearce’s gruff and grim weathered post apocalypse man as he tracks down the people who stole his car. The plot appears slight, and we can’t help but ask, why on earth would you hunt down a car when you could just steal someone elses? But, when he finally gets his car back, we find that the reason he engaged in so much violence to get his ride back was not for the car itself, but its cargo – the body of his dog. In a world where nothing holds value anymore, it’s an emotional gut punch to see a man work so hard for the one thing that he held dear, the body of his companion, his friend, the only purpose to stay alive – his dog.
31. Paper Planes – dir. Robert Connolly – 2014
Director Robert Connolly is one of Australia’s finest directors, often working in the realm of adult drama. This alone is the reason why Paper Planes is one of the most entertaining films of the 2010’s – it’s a kids film, but it’s a kids film through the perspective of adult eyes. A depressed father, Jack (the never better Sam Worthington), tries his best to help raise his kid, Dylan (Ed Oxenbould), and together they find the art of paper plane making. The art of making the perfect paper plane takes Jack and Dylan all over Australia from the outback of WA, to Sydney, to Japan. It’s a deceptively simple film that’s full of heart, compassion, and awareness of the difficulties of living with a mental illness. Easily one of the finest kids films Australia has ever produced.
30. Adore – dir. Anne Fontaine – 2013
The plot description of this one is a little, well, I guess the best word would be European? Two lifelong friends, Lil (Naomi Watts) and Roz (Robin Wright), have grown up together, both having sons, and both having marriages that have fallen apart. But, as their sons are nearing their twenties, each woman finds themselves romantically involved with the others son. What could easily have become a torrid and tawdry endeavour becomes a genuinely engaging realisation of friendship, love, and the bonds that bring people together. Director Anne Fontaine masterfully crafts a film that embraces the friendship between two women, and thanks to stellar performances from Watts and Wright, that bond feels genuine. Supporting turns from James Frecheville, Xavier Samuel, Sophie Lowe, and Ben Mendelsohn, are all exemplary.
29. Looby – dir. Iain Knight, Nick Garner – 2019
As one of the more recent films on this list, and certainly one of the most underseen films too (having only had a screening at the great Melbourne Documentary Film Festival), I can understand why you may not have heard of Looby. But don’t let its unfamiliarity put you off, instead, make sure to put it right up near the top of your ‘to watch’ list, as Looby is one of the finest documentaries that Australia has produced over the past decade. Focusing on the extremely entertaining Keith Looby, this is a documentary that scrapes away the prestige of the Australian art world and looks at its guts and tries to find out what’s going on underneath. This is truly one heck of an entertaining film to watch, with larger than life characters making every moment a joy to watch.
28. Mystery Road – dir. Ivan Sen – 2013
Mystery Road and its follow up, Goldstone, is the rare double whammy of a director slamming a one-two punch of masterwork after masterwork. Directed by Ivan Sen, and starring the ever pin-up worthy Aaron Pedersen, Mystery Road, is as engaging as any crime flick in Australian cinema. Pedersen plays Detective Jay Swan, a bloke who’s having as rough a time as ever trying to find out who murdered a young girl in the sand bowl of Outback Australia. A stunning support cast with Hugo Weaving, Jack Thompson, and Ryan Kwanten (who had a stellar 2010’s with Griff the Invisible and Red Hill), make this an experience to remember. The fact that Sen managed to outdo himself with the masterpiece that is Goldstone is amazing, and the fact that the character of Detective Jay Swan lives on in two TV series, shows that this is a franchise that has legs.
27. Blue – dir. Karina Holden – 2017
Karina Holden’s eco-documentary Blue is more than a warning about the impact that humanity is having on the oceans around the world. It’s a welcome reminder that through all the human caused destruction, there are many out there working hard to try and reverse the impacts of mankind on the oceans. By focusing on multiple different people, all working to repair the oceans, Holden manages to paint a picture of a world gradually improving thanks to these eco-conscious people. For me, Blue was a welcome reminder of the decisions I’ve made in my life to avoid seafood, and a caution that although I believe I’m doing a lot to reduce my impact on the world, I am still not doing enough. When watched alongside Damon Gameau’s 2040, you can walk away with some hope for humanity. Not much, but some.
26. Tanna – dir. Martin Butler, Bentley Dean – 2015
Australia’s first Best Foreign Language Film nomination at the Academy Awards came from this wonderful romance film by Martin Butler and Bentley Dean. Tanna takes place on a Pacific Island, telling the story of two lovers who are destined to be together, but are forced apart because their love is forbidden. The visual aspect of Tanna is reason enough to watch this film, but if you needed more encouragement, then take the fact that the two lead performances from Marie Wawa and Mungau Dain are so wonderful and immersive that you can’t help but be swept along for their journey. This film feels like a rarity – and that’s mostly because it is. It’s the first feature entirely shot on Vanuatu, and as such, the performances and landscape feel unique and fresh, like they have been spirited away from another land.
25. Top Knot Detective – dir. Aaron McCann, Dominic Pearce – 2017
And now for something completely different. Perth locals Aaron McCann and Dominic Pearce chopsockied their way into Australian film history with this uproarious and bonkers film about a fictional TV show – Ronin Suirai Tantei – that screened on Australian TV somewhere in the mid-nineties. As I said in my review, this is part Peter Jackson’s Forgotten Silver, part Monkey Magic, part Takashi Miike – and 100% hilarious. If that’s not enough to encourage you, then I’ll let you know that out of all the films on this list, it’s Top Knot Detective that I’ve found myself coming back to with alarming frequency (which is saying a lot given that Mad Max: Fury Road is still to come…) McCann and Pearce’s follow up film, Koko: A Red Dog Story, cannot come out soon enough.
24. Tracks – dir. John Curran – 2013
Robyn Davidson’s life story is one that carries a kind of mythology-aspect in Australian history. In 1977, Robyn walked from Alice Springs to the West Australian coast. She had with her four camels and a trusty dog, and periodically had National Geographic photographer, Rick Smolan, visit her during her nine month long journey. Director John Curran turned to one of Australia’s great talents, Mia Wasikowska, to bring Robyn’s story to life, and honestly, there is no better actor than her who could have honoured Robyn’s life so well. Rick Smolan is played by Adam Driver as the token Hollywood import, and he fits into the narrative perfectly. Performances are superb, but it’s the cinematography by Mandy Walker that really makes Tracks stand out. A genuine modern classic.
23. Hotel Coolgardie – dir. Pete Gleeson – 2016
Pete Gleeson’s Hotel Coolgardie is a blender full of anxiety, comedy, friendship, love, nail biting tension, and desperate uneasiness. Many reviewers compared this documentary to Wake in Fright, and sure, that’s an apt comparison, but there’s so much more to this film. What makes Hotel Coolgardie such a brilliant film to dive into is how Gleeson has managed to seemingly pull a story out of nowhere, one that for us city-dwelling folk might feel random and obscure, but for those who live in the remote parts of Australia, they’ll find alarming familiarity with the story of two Finnish travellers backpacking around Aus trying to make a few bucks along the way.
22. Killing Ground – dir. Damien Power – 2016
Australian horror often finds comfort in the nasty – think of the cruelty in Wolf Creek, or the gut churning fear in Hounds of Love – but no film has turned the outback into a field of fear more than Damien Power’s Killing Ground. This is a purely cruel affair, featuring one of the most horrendous, horrific, and devastating sequences of fictional murder on screen, one that is one-upped by another horrific moment just minutes later. Power manages to transform the humble family holiday into a caustic event that’ll have fellow tent-owners looking to offload them quick smart, and having them swear off camping ever again. Those who swooned after the buff Aaron Pedersen in Mystery Road will recoil in horror as Pedersen’s soulless Chook takes to the bush with a rifle and changes the outback once again. This is arguably the finest Australian horror film of the decade.
21. Hot Mess – dir. Lucy Coleman – 2019
As I said in my review of Hot Mess, this is one of the best film of 2019, but not only is it one of the best films of this year, it’s also one of the best of the decade. I could go on about how brilliant the comedy is in this film, with a superb central performance from Sarah Gaul, and exceptional writing and direction from Lucy Coleman, and I could go on about how it’s one of the funniest films I’ve seen in an age, and I could go on about how excited I am for both Coleman and Gaul’s future in Australian media, but really, what you need to know is that as soon as you can, watch Hot Mess, and then tell your friends to watch it. It’s brilliant fun.
20. Upgrade – dir. Leigh Whannell – 2018
Recently on Twitter, someone asked the question: other than Mad Max: Fury Road, what is the best action film of the 2010’s? And, really, the only possible answer is Leigh Whannell’s Upgrade. What makes a great action film? Well, naturally, the action (so perfectly choreographed here by Chris Anderson) is a big part, but also the performances (as proven with a stunning double whammy from Logan Marshall-Green and Simon Maiden), the direction (which is next level from Whannell), the writing (Whannell again), and the plot. Upgrade has all of that in spades, and damn, it’s just about one of the most entertaining action films of the past decade, making it essential viewing.
19. The Dressmaker – dir. Jocelyn Moorhouse – 2015
You’d think, given the wealth of rural towns and nothing out there in the Outback of Australia, that we’d have more spaghetti-Western-like films made here, but nope! We instead have depths of hell Westerns like The Proposition or Sweet Country. So, trust director Jocelyn Moorhouse to make a stand and change that entirely as she crafts a Western wish a phenomenal fashion sense in The Dressmaker. Featuring a pitch perfect duo of performances from Kate Winslet and Judy Davis, this is one of the finest modern Australian films that managed to not only entertain, but found massive audience appeal with Aussie audiences.
18. Animal Kingdom – dir. David Michôd – 2010
David Michôd’s debut film managed to not only put him on the world map, but also Joel Edgerton, Ben Mendelsohn, and most importantly, gave a late career revival to Jackie Weaver. Weaver managed to secure the first of two Oscar nominations for her role as Smurf, the ever doting crim-mum to the thug group that make up the Cody family. Australia has a wealth of crime films that often romanticise the crime life, but Animal Kingdom does no such thing, ensuring to show the darkness that thrives within this criminal underbellies that exist throughout Australia.
17. It All Started With a Stale Sandwich – dir. Samantha Lang – 2019
At the time of writing, It All Started With a Stale Sandwich is the best Australian film of 2019. Given a minute release around Australia – it only had a three day run here in Perth – you’d be forgiven for not knowing about this film, but now you’re reading this list you need to put this on your map. I could go on and on why this is a pitch perfect film, but really, it’s best I point you to my lengthy review on why this documentary hit home for me. I love this film a lot, and I sure hope you do too.
16. Island of the Hungry Ghosts – dir. Gabrielle Brady – 2018
While Australia has produced a fair amount of documentaries about refugees and asylum seekers – Chasing Asylum, The Baulkham Hills African Ladies Troupe, Constance on the Edge–, it’s Gabrielle Brady’s triptych of life on Christmas Island that is the most effective. The narrative that Brady weaves is astounding, managing to explore what life is like on the remote island for the people who were born there, for the animals that call it home, and for the asylum seekers who have their journey’s conclude there. This is not an easy film to sit through, with main subject Poh Lin Lee (the islands trauma counsellor) being pushed to breaking point on more than one occasion, but this is a very important film and one that deserves your time.
15. The Babadook – dir. Jennifer Kent – 2014
I know I called Killing Ground the best Australian horror earlier up the list – and I stand by that, that film intends to terrify the living shit out of you – but that’s not to discount the horror within The Babadook. Not only is this an unsettling film about a mother, her son, and a friendly book that just appears one day, but it’s also a deep exploration of grief and trauma and the unwelcome emotional headspace that these things put people in. Has there been a better, more assured and complete debut film from a filmmaker in Australia than Jennifer Kent’s The Babadook? Probably not. It is, quite simply, a masterpiece.
14. Backtrack Boys – dir. Catherine Scott – 2018
Backtrack Boys is a film that has brought me to tears just thinking about it. I saw it way back in the middle of 2018 and while I haven’t returned to it since, the ever frequently updated facebook page reminds me of the lives of the kids that are in this documentary, reminding me that their stories have carried on long after the film has finished. Catherine Scott’s gentle direction eases viewers into the world of jackaroo Bernie Shakeshaft, a quiet spoken, observant, empathetic bloke who runs a youth program for wayward kids. Through the help of working dogs, Bernie helps these kids help the dogs, and in turn, they help themselves try and lead better lives. Watch this one with your family, you’ll feel full of compassion and life afterwards.
13. Goldstone – dir. Ivan Sen – 2016
At the end of Mystery Road, Detective Jay Swan is left in a state of devastation. When we meet him again in Goldstone, he’s a wreck. Dishevelled, relying on booze more than he should, and living a fractured life, he is given no choice but to head back to work and solve another crime. Aaron Pedersen gives the performance of his career in this much-welcome sequel, and he’s joined by two simply stunning performances from David Gulpilil and Tommy Lewis. Indigenous cinema went through a massive revival in the 2010’s, and it’s thanks to directors like Ivan Sen, Rachel Perkins (Jasper Jones), Wayne Blair (Top End Wedding), and Warwick Thornton (We Don’t Need a Map), that this was possible. Goldstone is one of the finest films in the Indigenous Australian New Wave Movement.
12. Lion – dir. Luke Davies – 2016
One of the two Best Picture nominated films on this list, Lion is the true story of Saroo Brierly, a Calcutta kid who finds himself separated from his family, and as a missing kid, he flows into the adoption system in India, and ends up in Tasmania, a world away from his home. Sunny Pawar and Dev Patel play Saroo at different stages of his life, and both compliment each other perfectly in this genuinely heartbreaking film. While the central story of a man trying to get back to his family is powerful enough, it’s the impact of the roles that mothers play in our lives that will hit home the most. It’s impossible to not be an emotional wreck at the end of this film.
11. Berlin Syndrome – dir. Cate Shortland – 2017
For some, this might be a controversial placement of this nail biting thriller. I can accept that I might be alone with loving Cate Shortland’s third film, but it’s thanks to Shortland’s ever assured direction and Teresa Palmer’s deeply real performance that this film sits so high on this list. What initially feels like another rote ‘captured woman’ film, gradually moves into a devastating glimpse into the world of a woman who is trying to get her life back on track, only to have that path completely obliterated because of one man. Without Palmer’s performance, or the nuanced terror that comes with Max Riemelt’s villain, Berlin Syndromewould be a lesser film, but it’s thanks to these two performances, and Cate Shortland’s direction, that this is elevated above the genre trappings it could have fallen into, making it one of the finest thrillers Australia has ever seen.
10. Predestination – dir. The Spierig Brothers – 2014
The finest performance from any actor in an Australian film in the 2010’s comes from Sarah Snook in the Spierig Brothers sci-fi flick, Predestination. Look, if you haven’t seen Predestination, then don’t read any further, just go and watch it, it’s best not knowing anything. But, if you have seen it, you’ll know that Snook simply astounds as Jane, a person looking for the man who ruined their life. She’s joined by Ethan Hawke, who plays a barkeep who listens to Jane’s story, and possibly could provide her with the avenue of tracking down that man. Taut science-fiction this immersive comes along so rarely, that when it does it needs to be cherished and admired with all its perfection. This is a film that doesn’t falter on repeat viewings either.
9. Terror Nullius – dir. soda_jerk – 2018
It’s with great thanks to soda_jerk that Terror Nullius exists to remind us that Australia does have a culture, and it’s a culture that deserves a solid tear down and a reckoning like no other. This raucous and ruthless film is at once a celebration of Australian cinema, but also a rampantly left-leaning takedown of all that is wrong in Australia. This is delicious stuff, exceptional with its genius, stunning with the way comedy is employed, and just about one of the great Australian films ever.
8. Meal Tickets – dir. Mat de Koning – 2017
Meal Tickets is the kind of film that is a ‘slap down’ film. Meaning, it’s the kind of film that when you find out that someone hasn’t seen it, you rush off to find your copy of it, and ‘slap it down’ on the nearest table and demand they watch it there and then. Filmed over ten years, Mat de Koning’s film tells the story of local Perth band, the Screwtop Detonators, and their bid to make it big around the world. I’ve seen Meal Ticketsmore than a few times, and the brilliance of how Mat manages to immerse you in the friends and family of the band is stunning – so much so that on my fourth viewing, you can’t help but feel part of the family. This is Australia’s Dig!, an essential documentary about the rise and fall of a band, and all the troubles that come with it.
7. Sherpa – dir. Jennifer Peedom – 2015
Looking at Sherpathrough the perspective of the closure of climbing Uluru, one can’t help but cringe at how privileged and obnoxious people can be about wanting to climb things. Jennifer Peedom’s essential documentary takes a look at the horrific events that took place on Mt Everest as predominantly white climbers fought with Sherpas over being able to reach the summit. Peedom’s camera is observational, always watching, leaving the judging up to the viewer, and in turn, the climbers and those who facilitate the climb are given enough rope to hang themselves on. Disturbing, unsettling, powerful, and important viewing, this is one of the great modern documentaries.
6. Pawno – dir. Paul Ireland – 2015
Pawno is one heck of a film. A script by Damian Hill delivers distinctly Australian quotable lines like ‘it’s a c*nt of a world, and a world full of c*nts’. A core performance from Damian Hill cements the emotional core of the film, with tangential characters who come into the Pawn shop that his character works at all having their own emotional truths to live with. Empathetic direction from Paul Ireland helps make this one of the finest modern Australian films around. Everything about Pawno makes for comfortable, easy viewing, with it being the filmic version of the laid back Aussie way of life. Top shelf material.
5. Strange Colours – dir. Alena Lodkina – 2018
Alena Lodkina’s Strange Colours feels like a film solely crafted for me. It’s a quiet, contemplative film, full of unsaid truths and monologues of silence. Kate Cheel gives one of the finest performances of the decade, with Justin Courtin carrying a very Damian Hill-esque vibe to his performance. Everything is understated, which may admittedly make for difficult viewing for some viewers, but for me, Strange Colours packs an emotional punch like no other.
4. Mad Max: Fury Road – dir. George Miller – 2015
Do I need to say anything further to what has already been said about George Miller’s explosive six time Oscar winning flick, Mad Max: Fury Road? I mean, it’s full of high octane, frenetic action that’ll leave you slackjawed and overwhelmed in all the right ways. Sure, the plot might appear slight, but Miller knows that that framework allows him to make one heck of a feminist film. If you haven’t seen Mad Max: Fury Road, then what are you doing with your life? If you’ve seen it already, then why aren’t you watching it again? This film is a miracle. It shouldn’t exist. But it does, and for that, we need to be thankful.
3. All This Mayhem – dir. Eddie Martin – 2014
‘There’s three sides to every story. There’s my side, your side, and the truth.’ So says Tas Pappas as Eddie Martin’s masterpiece of a documentary opens. All This Mayhem is about the rise and the devastating fall of the Pappas brothers – two of Australia’s greatest raw talents when it comes to skateboarding. In the nineties, they reached peaks that no other Aussie skateboarder was reaching, and in the ever competitive world of extreme sports, they battled Tony Hawk, drugs, alcohol, and a lot more in a bid to stay on top. At once, this is a story about two brothers finding their way through fame, and at the same time, it’s about the difficulties of success. Tas Pappas’ life story is one you won’t want to miss, and he makes sure that you’ll be entertained and engaged all along the way.
2. Charlie’s Country – dir. Rolf de Heer – 2013
Rolf de Heer is the best Australian director around, and Charlie’s Country is, simply put, his finest film. It’s also David Gulpilil’s finest work, as he takes on the titular role of Charlie, an Indigenous bloke who is angry at the ways that white folks have impacted Indigenous Australia, taking away tradition and their livelihood and replacing them with booze and nonsense. This is not an easy film to sit through, and while I struggle to apply the label of ‘important film’, I can’t help but do so for this one. Yes, this is an important film, and it’s one that every Australian should watch.
1. Sweet Country – dir. Warwick Thornton – 2018
And, if Charlie’s Country needs to be watched by all Australians, then that label applies even more so for Warwick Thornton’s masterpiece, Sweet Country. I’ve long championed this film, and I stand by my reasoning that it’s one of the truly great Australian films ever. What Warwick Thornton has created is a document of the brutal history that Indigenous Australians have lived with for generation upon generation. It’s a wound that refuses to heal. Given this is Thornton’s second film, I can only imagine what brilliance he has to come.