Miranda Nation takes a bold approach to pregnancy and abortion in her Geelong-shot film that evokes the work of Jane Campion
Film is an intensely collaborative art form, which is one of the reasons the auteur theory was established: to help navigate a sea of creative people dabbing away at their corner of the canvas. It is an effective way to define authorship and contextualise film history, though sometimes an artist comes along whose work is so strong in a non-directing role they seem to call into question auteurism’s very validity.
The Australian cinematographer Bonnie Elliott is one of them. Her compositions have a striking tendency to explore relationships between people and places. They have profoundly enhanced productions including Spear, Teenage Kicks, These Final Hours, TV’s Seven Types of Ambiguity and now Undertow – a Geelong-shot psychological drama premiering this week at the Melbourne international film festival.
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