Fantastic Film Prize: ‘We need a bigger focus on Australian creatives and emerging talent’

When Fantastic Film Festival Australia returns for its seventh outing of far-out movies from 23 April to 15 May, opening with Adam Scott-led spooker Hokum and closing with Mia’Kate Russell’s homegrown slasher Penny Lane is Dead, something big is afoot.

Teaming up with distributor Umbrella Entertainment, the festival has launched the inaugural Fantastic Film Prize, with a $10,000 cash prize for one of four competing Australian films willing to bend the boundaries of cinema to breaking point and beyond.

Artistic Director Hudson Sowada says the prize is aimed at championing Australian filmmakers with out-there appeal.

‘We’re looking for something that audiences haven’t quite seen before,’ Sowada says. ‘Often spooky and scary, often sincere and personal, but always unique, they’re in that nexus between cult films, art house cinema and underground stuff operating on the fringes of traditional storytelling.’

The jury members deliberating on the inaugural Fantastic Film Prize are producer Lauren Simpson, president of Women in Film and Television Victoria, Jack Sargeant, film commentator and Revelation Perth International Film Festival programmer, and Joe Yanick, co-founder of Hellbender distributor and sales agent Yellow Veil Pictures.

Sowada hopes the winner will be able to capitalise on the prize money at the business end of getting their movie out there. ‘It’s not cheap to make a movie, that’s for sure,’ Sowada says. ‘This money could be a boon to get a premium trailer done, design a poster or help with marketing.’

Partnering with Umbrella was a no-brainer. ‘They’re on the vanguard of rising talent,’ Sowada says. ‘It’s such an important part of their approach to distribution, helping discover filmmakers and building up their relationships with the industry. The Fantastic Film Prize plants a big flag in that key part of their mission.’

Ari Harrison, general manager of Umbrella Entertainment, agrees. ‘We’ve always been a big advocate for low-budget, first-time indie filmmakers, and this felt like an amazing way to support that,’ he says. ‘It’s not just the cash prize, it’s also about opening opportunities for distribution, boosting their credentials with a win.’

Harrison points to recent horror movies Birdeater and You’ll Never Find Me, as well as queer animated adventure Lesbian Space Princess, as the kind of films playing in this space that Umbrella has supported.

There’s huge potential to break through internationally, too. ‘The success of films like Talk to Me, Late Night with the Devil and Leviticus is so good to see,’ Harrison says. ‘Making sure that we can continue to support these young voices on the world stage is absolutely critical for our industry.’

The industry doesn’t always make it easy.

‘There still needs to be better opportunities for Australian films to be financed,’ Harrison insists. ‘We do so much, supporting the big studios and international productions, which is great for crews. But we do need a bigger focus on Australian creatives and our emerging talent.’

There also needs to be more focus on getting Australian films in front of local audiences, Harrison suggests. While Screen Australia offers some funding for publicity and advertising support, it’s too narrowly targeted.

‘It’s only for films Screen Australia has given production funding, of which there aren’t many,’ Harrison notes. ‘And while P&A [Prints & Advertising, or marketing and promotion] support is a big thing, you can’t spend $150,000 when a film’s only being released on 30 screens. So it’s also about screen support and media attention for emerging talents.’

A longer tail for local films is vital. ‘If we had further downstream revenue opportunities, with streaming platform support in place before releasing a film theatrically, it gives a bit more power to be a bit more creative in securing theatrical success and downstream.’

This inaugural Fantastic Film Prize contenders include David Ward’s Australian cyber-gothic debut feature, Lenore, which follows a would-be filmmaker obsessed with a missing social media influencer.

‘It goes on really dark and twisted paths, as an exploration of the parasocial connections people forge in the digital age,’ Sowada says.

Croatian-Australian director Al Kalyk’s Cruel Hands is also in the mix, portraying the terrifying fight of a mother fleeing her abusive partner with their young kid in tow during a bushfire. ‘It really is a stunning piece of psychologically thrilling cinema,’ Sowada says.

Ryan Zorzut’s Squids follows a goofy gang of competitive scooter racers in a pastiche of 80s adventures like BMX Bandits. For Sowada, ‘It has that really bubbly, colourful look and is made by interesting voices in Melbourne’s underground comedy scene, so it has a deadpan satirical quality to it.’

And then there’s Josh ‘Sinbad’ Collins’ Wolf Cat Fever, which follows the schlocky exploits of rockabilly band The Sextortions, battling against Judas bandmates, music moguls and corrupt politicians. Sowada describes it as ‘a punk rock fantasy set in an almost Cat in the Hat-style world. It’s super-fun.’

While it’s an exciting time for genre filmmaking breaking through, Sowada notes that this type of cinema is also great fun to make.

‘You don’t need a big budget or cast to really find an audience,’ he says. ‘You just need a bit of heart and energy. The international market is responding. Festivals are responding. It’s great Fantastic Festival can play a small part in supporting the journey of these filmmakers.’

Fantastic Film Festival Australia runs at various cinemas in Melbourne and Sydney from 23 April to 15 May.