SPEAR + Q&A
Sat
12
Sat 12 Jul 1:00 PM
Arc Cinema
Allocated Seating
84 Mins
July
2015 | DCP | AUS | D: Stephen Page
Join director Stephen Page AO for a screening of his first feature film, followed by a Q&A exploring themes of dislocation and identity.
We meet Djali (played by the director’s son and Cleverman star, Hunter Page-Lochard), a young First Nations man on a confronting journey, shadowed by Suicide Man (Aaron Pedersen).
Celebrated choreographer Stephen Page’s film is a story told through dance. It is adapted from work by Bangarra Dance Theatre, beautifully scored by Page’s brother David Page, and stunningly shot by Bonnie Elliott.
About Stephen Page
Born in Brisbane, Stephen Page is a Nunukul/Ngugi man of the Quandamooka Peoples and a Munaldjali man of the Yugambeh Nation in South East Queensland.
From 1991 to 2023, Stephen was the Artistic Director of Bangarra Dance Theatre, where he created a landmark body of work that has become integral to the Australian performing arts landscape. His recent works include VIGIL for the Sydney Festival and BALEEN MOONDJAN for the Adelaide Festival.
Stephen directed the Indigenous segments of the Opening and Closing Ceremonies of the 2000 Sydney Olympic Games and choreographed for the Opening Ceremony of the 2018 Gold Coast Commonwealth Games. He has also worked in film, directing his first feature-length work, SPEAR.
His many accolades include an Honorary Doctorate of Creative Arts from the University of Technology Sydney (2015), the NAIDOC Lifetime Achievement Award (2016), and his appointment as an Officer of the Order of Australia (AO) in 2017.
In 2022, Stephen premiered WUDJANG – NOT THE PAST, his final work as Bangarra’s Artistic Director — an ambitious and deeply personal production honouring his father’s Yugambeh Country through song and dance.
‘What a weird and wonderful head trip, something less watched than experienced. Close your eyes and it’s an exquisite soundscape. Turn the audio off and it’s striking visual art. Combined, a vial of dark and beautiful magic – on every front, an exhilarating achievement.’ – The Guardian
Join director Stephen Page AO for a screening of his first feature film, followed by a Q&A exploring themes of dislocation and identity.
We meet Djali (played by the director’s son and Cleverman star, Hunter Page-Lochard), a young First Nations man on a confronting journey, shadowed by Suicide Man (Aaron Pedersen).
Celebrated choreographer Stephen Page’s film is a story told through dance. It is adapted from work by Bangarra Dance Theatre, beautifully scored by Page’s brother David Page, and stunningly shot by Bonnie Elliott.
About Stephen Page
Born in Brisbane, Stephen Page is a Nunukul/Ngugi man of the Quandamooka Peoples and a Munaldjali man of the Yugambeh Nation in South East Queensland.
From 1991 to 2023, Stephen was the Artistic Director of Bangarra Dance Theatre, where he created a landmark body of work that has become integral to the Australian performing arts landscape. His recent works include VIGIL for the Sydney Festival and BALEEN MOONDJAN for the Adelaide Festival.
Stephen directed the Indigenous segments of the Opening and Closing Ceremonies of the 2000 Sydney Olympic Games and choreographed for the Opening Ceremony of the 2018 Gold Coast Commonwealth Games. He has also worked in film, directing his first feature-length work, SPEAR.
His many accolades include an Honorary Doctorate of Creative Arts from the University of Technology Sydney (2015), the NAIDOC Lifetime Achievement Award (2016), and his appointment as an Officer of the Order of Australia (AO) in 2017.
In 2022, Stephen premiered WUDJANG – NOT THE PAST, his final work as Bangarra’s Artistic Director — an ambitious and deeply personal production honouring his father’s Yugambeh Country through song and dance.
‘What a weird and wonderful head trip, something less watched than experienced. Close your eyes and it’s an exquisite soundscape. Turn the audio off and it’s striking visual art. Combined, a vial of dark and beautiful magic – on every front, an exhilarating achievement.’ – The Guardian
July