- by Graham Holton
- The Guardian
- Issue #2166
Walkabout
Australia’s Indigenous directors and actors have shaped our cinema and television productions locally and internationally. They are central to the decolonisation of Australian cinema, challenging old stereotypes by reclaiming the historical narrative. Their works explore land, identity, dispossession, and the Indigenous spiritual connection, while experimenting with genre from Westerns and Gothic horror to sci-fi and comedy.
First Nation filmmakers are reshaping Australian TV and cinema, taking back control of the lens through stories and cultures with new perspectives. The distinctive voice of Indigenous Australian cinema has received acclaim in international film festivals such as Cannes, Venice, Toronto, and Sundance.
The best-known actor is David Gulpilil (1953 - 2021) of the Yolŋu nation. Gulpilil had noted performances in Walkabout (1971), The Tracker (2002), and Rabbit-Proof Fence (2002). The legendary actor-dancer brought Indigenous characters to a global audience. Jack Charles (1943 - 2022) (Boon Wurrung/Dja Dja Wurrung) is well known for The Chant of Jimmie Blacksmith (1978) and Cleverman (TV). He was a powerful symbol of cultural resilience and survival.
More recently Aaron Pedersen (Arrernte and Arabana), who acted in Mystery Road (film & TV), and Goldstone (2016), is a leader in Indigenous noir films by portraying complex Aboriginal detectives and anti-heroes. Leah Purcell (Goa-Gunggari/Wakka Wakka) is well known for The Drover’s Wife: The Legend of Molly Johnson (2021), and Wentworth (TV). The actor-writer-director brings Indigenous perspectives to classic Australian stories. Shantae Barnes-Cowan (Adnyamathanha/Kokatha) was in Firebite (2021), and Sweet As (2022). Shantae is praised for her youthful and dynamic performances.
Up and coming actors include Rarriwuy Hick (Yolŋu), who was in True Colours (2022). Tasia Zalar (Gunggandji/Kaurareg) was in Mystery Road (TV), and The Straits (TV). Baykali Ganambarr (Yolŋu) in The Nightingale (2018), won the Marcello Mastroianni Award for Best Young Actor at Venice.
Leading indigenous Australian directors include Rachel Perkins (Arrernte/Kalkadoon), who is one of the most prominent Indigenous directors and co-founder of Blackfella Films. Her work blends entertainment, Indigenous history, and political rights. Perkins is noted for Bran Nue Dae (2009), Mabo (2012), and Mystery Road (TV, 2018 - present). Warwick Thornton (Kaytetye) is a Cannes Caméra d’Or winner. His films use lyrical cinematography to depict the impact of colonialism and Indigenous resilience. Thornton is noted for Samson and Delilah (2009), Sweet Country (2017), and more recently The New Boy (2023).
Other directors include Beck Cole (Warramungu/Luritja), well known for her powerful portrayals of Aboriginal women and urban Indigenous stories. Beck’s films include Here I Am (2011), We Are Still Here (2022), and Redfern Now (TV). Wayne Blair (Batjala/Mununjali/Wakka Wakka) brought Indigenous stories to mainstream audiences using humour, music, and social commentary. Wayne directed The Sapphires (2012), Cleverman (TV), and Firebite (TV). Tracey Moffatt (Kamilaroi) is one of the first Aboriginal women to direct a feature film and is internationally acclaimed for her experimental and art films. Tracey directed Nice Coloured Girls (1987), and Bedevil (1993).
Larissa Behrendt (Eualeyai/Kamilaroi) is an award-winning documentarian who explores law, land rights, and the Stolen Generations. Behrendt directed After the Apology (2017), and Maralinga Tjarutja (2020). Dena Curtis (Arrernte/Warlpiri) focuses on Indigenous storytelling through humour and supernatural narratives. Dena is noted for 8MMM Aboriginal Radio (2015), and Shadow Trackers (2014). Grant Saunders (Biripi) blends activism and documentary filmmaking around land rights and cultural identity. Grant is noted for Wik vs Queensland (2018), and Vote Yes (2007).
Australia’s Indigenous filmmakers need access to overseas venues, such as the Sundance Film Festival in the United States. The Trump administration has announced a 100 per cent tariff on all foreign films. While the details have not been finalised, the cost of importing Australian films may be prohibitive. The unwarranted tariff is not only an attack on our film industry it is an attack on the global recognition of Australia’s Indigenous culture.
