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Aurora Films working with Jamieson Pearce on screen adaptation of Hervé Guibert’s ‘Crazy for Vincent’

Sean Slatter January 14, 2025

Aurora Films is developing a feature adaptation of French author Hervé Guibert’s 1989 novella, Crazy for Vincent, with plans to shoot in Paris.

Jamieson Pearce is on board to write and direct the screen version of the intimate autobiographical story, which delves into the author’s infatuation with Vincent Marmousez, a young man who is 15 when the two first meet in 1982.

Working backward from Vincent’s untimely death six years later, Guibert seeks to understand the “monster” of a boy’s presence in his life in a work that carries elements of poetry, fiction, and diary entries.

Aurora is developing Crazy for Vincent as an Australian-French co-production that will film in Paris and complete post-production in Australia, with producers in discussion regarding the French cast. Pivot Pictures will distribute the film in Australia and New Zealand.

Pearce, a previous recipient of Sydney Film Festival’s Lexus Australia Short Film Fellowship whose work includes shorts Strangers and Thomas Rides in an Ambulance, said the “maze of moments” in the book is well suited to cinematic adaptation.

“Hervé Guibert’s writing is fearless and unflinching,” he said.

“To adapt his work demands a similar boldness. On the page, the moments of tender intimacy sit centimetres from brutal dejection, creating an emotional landscape that is as compelling as it is destabilising. Guibert’s reflections on the artist’s role — treating life as an extension of artistic practice — resonate and serve to explain, if not justify, the moral ambiguity of his choices.”

Hervé Guibert (left) Vincent Marmousez (right) in Latélier de Balthus (Image: Hans Georg Berger)

It is part of a trio of real-life stories Aurora is developing for the big screen alongside an adaptation of  Deborah Snow’s investigative novel Siege: Inside the Lindt Cafe and the life of Equatorial Guinea swimmer and Sydney Olympics underdog hero Eric “the Eel” Moussambani Malonga.

Managing director and Crazy for Vincent producer Ákos Armont aimed to shop the company’s newest project at this year’s Cannes Film Market, describing it as “a lightning strike for contemporary cinema”.

“[Crazy For Vincent] is an extraordinary provocation to audiences — in equal measure brazen and uncompromising, as brutal as it is tender. Guibert’s fearless interrogation of desire’s darkest corners finds its match in Jamieson’s filmmaking.”

Pivot Pictures managing director Louisa Balletti, who serves as executive producer, described Pearce’s vision for the film as “both daring and ambitious”.

“I’m excited to champion this ground-breaking production that dares to explore the raw beauty of human connection and desire with unflinching honesty,” she said.

“This is a visionary project that has the potential to redefine boundaries in cinema, and I’m eager to see it come to life.”

The producers welcome enquiries and expressions of interest for production support from all interested parties.

Tags

aurora-filmscrazy-for-vincentjamieson-pearce

Tuesday 01.14.25
Posted by Akos Armont
 

Andreas Scholl & The Australian World Orchestra

A black-tie gala concert like no other, featuring world-renowned countertenor Andreas Scholl. Experience the beauty of Baroque harmonies and Mozart’s masterpiece, the “Gran Partita,” in an intimate and breathtaking setting.

Concert video production: Aurora Films
Producer: Akos Armont
Cinematographer: Liam Brennan

Thursday 11.14.24
Posted by Akos Armont
 

Helen Garner, Virginia Woolf and Max Porter headline Belvoir St theatre’s 2025 program

‘Electrifying’ Judy Davis will star in adaptation of The Spare Room, with Colin Friels as King Lear later in the season

Dee Jefferson

Mon 9 Sep 2024 19.00 AEST

An adaptation of Helen Garner’s award-winning novel The Spare Room will debut at Sydney’s Belvoir St theatre in 2025, starring Judy Davis as a fictionalised version of the author in her first on stage role in almost 15 years.

The announcement caps a banner year for Garner’s work on stage, with an operatic adaptation of The Spare Room in development with the Melbourne company Monstrous Theatre, as well as a remount of the 2008 opera The Children’s Bach.

The Spare Room, released in 2009, is the story of a woman named Helen grappling with rage while caring for a beloved friend with terminal cancer. Belvoir’s artistic director, Eamon Flack, described Davis as “an electrifying actor and storyteller who was born to play this role”.

The production is one of three literary adaptations premiering in Belvoir’s upcoming season, alongside Max Porter’s bestselling novel Grief Is the Thing With Feathers, co-starring the actor Toby Schmitz, who adapted it with the director Simon Phillips and the lighting designer Nick Schlieper; and Virginia Woolf’s queer classic Orlando, adapted by Belvoir’s resident director, Carissa Licciardello, and the transgender artist Elsie Yager.

Flack, who will adapt The Spare Room, described it as “a book about honesty and rage, and how women are taught not to be either of those things, and what happens when they need to be”. It was divisive when it was published, simultaneously praised and criticised for its raw depiction of a carer’s rage.

Helen Garner: ‘People would give me death stares in the street’

“It’s also an extremely funny novel,” Flack said. “When I said to Helen, ‘I think it’s really funny,’ she said, ‘So do I!’ And she said, ‘I don’t understand – so many people got angry at me for being angry.’”

The Spare Room headlines a 2025 Belvoir season that is big on new Australian work, with premieres of plays by S Shakthidharan, whose award-winning Counting and Cracking opened in New York this month after a sold-out return season at Sydney’s Carriageworks in July; the veteran stage and screen writer Andrew Bovell (Lantana; When the Rain Stops Falling); and the Gumbaynggirr/Wiradjuri writer and actor Dalara Williams, whose Big Girls Don’t Cry will be a tribute to her grandmother and aunties, and the Aboriginal debutante balls of 60s Redfern.

Williams’ play is one of two First Nations works in the season, along with the Arrernte writer Declan Furber Gillick’s sharp, dark comedy Jacky, starring Guy Simon as a country boy turned city slicker dabbling in sex work. Melbourne Theatre Company’s 2023 production of Jacky will open at Belvoir in January as part of Blak Out, Sydney festival’s First Nations program. A concurrent program titled Redfern Renaissance will feature a series of panels, workshops and performances celebrating the history of the National Black Theatre in 70s Redfern.

Closing out the year is Flack’s production of The True History of the Life and Death of King Lear and His Three Daughters, drawing on the original folio version of Shakespeare’s tragedy, and starring Colin Friels alongside his daughter, the actor Charlotte Friels.

Meanwhile, a comedic cabaret take on Hans Christian Andersen’s macabre fairytale The Red Shoes, by Australian alt-cabaret performer Meow Meow, may bring a different kind of audience to Belvoir.

Acknowledging the challenge of selling tickets in a cost-of-living crisis, Belvoir’s executive director, Aaron Beach, spoke of the company’s commitment to putting audiences first, using a “dynamic pricing” approach for tickets alongside community engagement and concession programs to make sure there was “a price type for everyone”.

Flack, meanwhile, said the company’s long-term strategy of moving away from subscribers and towards a wider variety of audiences, while “risky”, had been liberating artistically.

“It’s a tightrope walk, because it means you are reliant on single ticket sales and late buying patterns. But if theatre is good, people come to it, and that’s been our experience.”

Thursday 11.14.24
Posted by Akos Armont
 

THE SPARE ROOM

From the novel by Helen Garner
Directed by Eamon Flack

  • VenueUpstairs Theatre

  • Dates7 Jun – 13 Jul 25

In association with

  • Byzant

  • New work at Belvoir supported by

    • The Creative Development Fund

When Helen’s old friend, Nicola, comes to town for treatment, it only makes sense she should stay in the spare room. Nicola has put her faith in a shady alternative cancer clinic, and Helen is determined to be her brilliant friend and carer no matter what. But as the sleepless nights rack up, a short stay in the spare room becomes a loving, maddening battle for life.

Helen Garner’s novel has been praised for its empathy, emotional honesty, hawk-eyed detail and perfect prose. Now, with Judy Davis as Helen and Elizabeth Alexander as Nicola, it’s a tour-de-force of modern Australian theatre.

I’ll call it: Helen Garner’s our greatest living writer. I’ve been dreaming for years of putting her work on stage. The Spare Room looks like a story about dying but it’s really about what we live for: each other. It’s also by turns naughtily funny, sympathetic, cruel, invigorating. And, let’s cut to the chase, here’s a chance to see Judy and Liz in complex, nuanced roles they were born to play. It’ll only be on for a few weeks in June and July – you’ll regret it if you miss it. – Eamon

TEAM

Helen Garner
Original Author

Eamon Flack
Director

A cast of 6 including

Elizabeth Alexander

Judy Davis

Creatives

Steve Francis
Composer and Sound Designer

Ákos Armont
Consulting Producer

Antony Waddington
Consulting Producer

Thursday 11.14.24
Posted by Akos Armont
 

NIDA Awards $45,000 to Artists Exploring Storytelling and Technology

https://www.nida.edu.au/news/nida-awards-45000-to-artists-exploring-storytelling-and-technology/

29 May 2024

NIDA is proud to announce $45,000 in grants awarded to NIDA alumni, or groups led by NIDA alumni, for projects that push the boundaries of storytelling and technology.

NIDA X aims to identify and support projects in which artists and technologists explore and help create the future of storytelling, offering artists an opportunity to lead technical innovation, not follow in the footsteps.

These new, live entertainment experiences might result in a finished experience or be the prototype for a larger exploration.

Each recipient will receive $15,000, along with an industry mentorship and access to facilities and technological support from NIDA. NIDA X is a program of the NIDA Future Centre and is made possible by the generous support of the Girgensohn Foundation.

‘The NIDA Future Centre received an unprecedented response from our alumni community for NIDA X, with projects ranging from AI avatars to soundscape installations and XR experiences. We had multiple entries involving First Nations storytelling and many dealing with complicated subject matter like online trolling, race, climate change and disabilities. The quality was incredibly high and we are so excited to be involved in the development of our three recipients projects.’ Beth Shulman, Acting Head of NIDA Future Centre

NIDA X Grant recipients are:

1. Shakira Clanton (Acting, 2015) | Small Blue Thing

Partnering with the award-winning Box of Birds team, Shakira Clanton, a proud Wongatha, Yamatji and Noongar, Gitja yorga woman from Whadjuk Noongar Boodjar (Perth) with African-American and American Indian Ancestry, is in creative development for Small Blue Thing, an immersive performance exploring humanity and environment from a First Nations perspective. Shakira will create the story alongside Box of Birds, a leading company encouraging and embracing social playfulness within the reality of our digital future. Shakira’s mentor will be multi-hyphenate artist Ursula Yovich, an award-winning actor, writer, dramaturg, director, singer, songwriter and storyteller of Aboriginal and Serbian descent.

2. Angela Sullen (Acting, 2016; Voice, 2020) | Vital Signs

Angela has taken her own lived experience to create Vital Signs, a debut solo work fusing medical technologies with live performance to create a dynamic and thrilling interrogation of the topography and medicalisation of the Black larger body alongside the cultural trajectories drawn from the politicisation of such bodies. The work will anchor itself around the 7 vital signs: Body Temperature, Pulse Rate, Respiration Rate, Blood Pressure, Blood Oxygen, Weight and Blood Glucose Level. Angela and director Dino Dimitriadis will incorporate live use of medical equipment on stage. Angela’s mentor will be Drew Ferors, Technical Services and New Media Manager at TDC, a world-renowned supplier of entertainment technology, audio visual and production for the Events and Entertainment industry.

3. Akos Armont (Acting, 2007) | Tent

Akos is exploring the space between online and live theatre audiences in creating an immersive theatre experiment which re-imagines the horror film experience for a contemporary audience. Delving into social media influencer culture with the lens of suspense and horror feels timely, fun and a fresh way to drive new audiences to live entertainment experiences. To truly bring two experiences together through camera trickery and live production, Akos will be receiving a mentorship with renowned cinematographer David Knight.

Thursday 11.14.24
Posted by Akos Armont
 

Aurora Films to adapt Deborah Snow’s ‘Siege: Inside the Lindt Cafe’

by Sean SlatterFebruary 3, 2023

Aurora Films is set to begin development on a screen adaptation of journalist Deborah Snow’s book detailing the 2014 Lindt Cafe siege in Sydney.

Published by Allen and Unwin in 2018, Siege: Inside the Lindt Cafe lays bare the events of December 15–16, 2014 when a lone gunman, Man Haron Monis, held hostage ten customers and eight employees of a Lindt chocolate café in the APA Building in Martin Place.

With the police response to the 16-hour standoff, and the deaths of hostages Katrina Dawson and Tori Johnson the subject of a Coronial Inquest and substantial media commentary, Snow’s account delves behind the scenes in the cafe as the hostages tried to keep themselves alive while examining the police command posts and the communications, equipment and decision-making structures central to the outcome.

Aurora Films optioned the title just over 18 months ago and has since begun initial consultations in regard to the project.

As of yet, it is not known what format the adaptation will take or when it will be shot, although Sydney has been confirmed as the location.

Producer and Aurora Films managing director Ákos Armont said his company was humbled to have the opportunity to “tell this story right”.

“This is an event that must be approached with the utmost respect and consideration for everyone involved,” he said.

“Aurora Films prides itself on working closely with authors, survivors of trauma, and the broader community when faced with such sensitive material.

“We expect to develop a thoughtful and nuanced retelling of what happened from a variety of perspectives and following a period of informed consultation.

“Our aim is to help heal, inform, and connect with the community at large.”

It’s the second real-life adaptation in as many months for the company, which announced in January that would begin work on a feature based on the life of Sydney Olympic cult hero Eric “the Eel” Moussambani Malonga.

Friday 02.03.23
Posted by Akos Armont
 

Aurora Films backs Eric the Eel story for the big screen

by Sean SlatterJanuary 10, 2023

The tale of Eric “the Eel” Moussambani Malonga, the swimmer from Equatorial Guinea who became the underdog hero of the Sydney 2000 Olympics, is set to be immortalised on the big screen.

Aurora Films has secured the life rights to the athlete’s story, which will form the basis for a scripted feature film to be shot primarily in Australia, including at Sydney’s Olympic Park.

Development is slated to start in late 2023, with shooting anticipated to take place in 2025-26.

Eric “the Eel” Moussambani Malonga and Aurora Films founder and managing director Ákos Armont.

Writer/producer and Aurora Films managing director Ákos Armont said he had spent years thinking about Moussambani’s “awe-inspiring story of courage, determination and dignity under immense public pressure”.

“To my mind, Eric, and the athletes and trainers who assisted him at the Games, embody the very finest qualities of sportsmanship and the Olympic spirit,” he said.

“I hope Eric’s journey to the 2000 Olympic Games and his subsequent appointment as Equatorial Guinea’s national swimming coach will inspire generations of young viewers to seek out new ways of representing their own communities and positively impacting the world around them.”

After being selected to represent his country as part of the International Olympic Committee’s wildcard program, Moussambani took up competitive swimming only eight months prior to the games. His journey caught the attention of others in the village, with the South African team swim coach taking him under his wing days before the qualifying heats.

Despite training in a 12-metre hotel pool, he stepped up to the blocks in the 100m freestyle first-round heat and managed to keep his composure while his two fellow competitors false started, leading him to swim the race alone and record a time of 1:52.72 – the slowest in Olympics history.

His determination and courage made him a cult figure among commentators and viewers while inspiring athletes in his home country, where he is now the national swim team coach.

Speaking about his games experience, Moussambani said it was something that he “had to do”.

“Something in me was saying, if I am the first person to swim in an Olympics game [for] my country, I’m going to do it,” he said.

“Because if you want to do something and you are giving your effort and you are trying your best, you can do it.”

[To read the article on the IF Magazine website, follow this link]

Tuesday 01.10.23
Posted by Akos Armont
 

Aurora Films supports Ian Potter Cultural Trust recipient, writer/director Jamieson Pearce

Aurora Films is thrilled to be supporting the work of emerging Australian writer/director Jamieson Pearce (recently awarded a cultural trust grant by the Ian Potter Cultural Trust). Jamieson is currently undertaking a 6-month writers residency in Paris, made possible by substantial accomodation support from the Cite International des Art, with living expenses auspiced by Aurora Films.

“Congratulations to the 25 emerging artists awarded Cultural Trust grants in the final funding round of 2022.

In the latest round, 25 emerging artists were awarded $214,463 in grants. Our new grantees will travel to 14 countries to undertake professional development in their respective disciplines, including design, film directing, and dramaturgy.

The Cultural Trust team looks forward to following your development projects and journeys. You can visit the Cultural Trust website for further information on grantees and their projects
.” - The Ian Potter Cultural Trust

Thursday 12.22.22
Posted by Akos Armont
 

The man Peter Dutton tried to ban has arrived in Australia

Helen Pitt

December 12, 2022 — 11.32am

Kurdish Iranian writer Behrouz Boochani was anxious when he arrived at customs last week for his first ever visit to Australia, after spending six years of detention on Manus Island.

It wasn’t just former home affairs minister Peter Dutton’s 2019 declaration that the award-winning author of No Friend But the Mountains would never step foot in Australia after seeking asylum in New Zealand that made him edgy.

The 39-year-old former journalist, now resident of Wellington, New Zealand for the past three years, was also concerned how Australians would feel about him, after being a vocal critic of this country’s offshore detention system.

“I was anxious because I am sure I impacted Australia’s image in the rest of the world on refugee issues,” he said.

He need not have worried. From the moment he touched down the welcome has been nothing but warm.

“The guy who checked my passport at customs just said, ‘you look familiar mate’, and he laughed, checked my papers and let me in.

“I’ve been working with people here for years, and I am meeting some for the first time ... I feel relaxed now I am finally here,” he said.

[To read the full article follow the link HERE]

Monday 12.12.22
Posted by Akos Armont
 

The author told he wouldn't 'set foot in Australia' joins News Breakfast | ABC News

In 2019 former Immigration Minister and current Opposition Leader Peter Dutton said Kurdish Iranian refugee Behrouz Boochani would not be allowed to set foot in Australia. Subscribe: http://ab.co/1svxLVE

Read more here: https://ab.co/3VGTzT1

This week he arrived in the country to discuss his new book detailing his experiences in offshore detention.

Friday 12.09.22
Posted by Akos Armont
 

Behrouz Boochani in Australia: ‘Some of those politicians who barred me are gone. But I am here’

The Kurdish Iranian refugee was always confident he would prove Peter Dutton’s declaration that he ‘wouldn’t be permitted to come to Australia’ wrong

  • Full Story podcast: Why it took Australia nine years to accept NZ refugee deal

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‘Our voice is important, because we see politics in Australia in a unique way, our perspective needs to be shared here’: Behrouz Boochani in Melbourne. Photograph: Penny Stephens/The Guardian

Peter Dutton once insisted Behrouz Boochani would not be allowed to come to Australia. Boochani just did – and he says he was always confident he would prove Dutton wrong.

He casts it as a victory of culture over politics, of resistance overcoming power.

“When you resist, you create something,” Boochani says.

Mostafa Rachwani

@Rachwani91

Thu 8 Dec 2022 11.57 AEDT

Peter Dutton once insisted Behrouz Boochani would not be allowed to come to Australia. Boochani just did – and he says he was always confident he would prove Dutton wrong.

He casts it as a victory of culture over politics, of resistance overcoming power.

“When you resist, you create something,” Boochani says.

We pretend there has been change under Labor but hundreds of refugees are still in detention

The Kurdish writer and refugee is in Australia to promote his latest book Freedom, Only Freedom, a collection of work he wrote while in detention, alongside essays from experts on migration, refugee rights, politics and literature.

Boochani was locked up in offshore detention for six years, during which he wrote and published the award-winning No Friend But the Mountains.

He eventually settled in New Zealand.

Boochani says while he feels his writing and advocacy has impacted Australian politics, he does not feel like an Australian writer.

“I am a Kurdish Iranian writer. But I think this work is a part of Australia,” he says.

“I don’t live in Australia, but I am connected to this country through my work. And I cannot forget about those years. And we have had an impact on Australia, we challenged Australia, we cannot get away from that. It will be there forever.”

Boochani fled ethnic persecution in Iran in 2013, attempting to arrive in Australia via boat from Indonesia, before being detained in the Manus Island detention centre.

There Boochani witnessed the “brutal side” of Australia and its politics, and penned his first book via compiled WhatsApp messages.

“We have faced the dark side of liberal democracy, and that’s why our voice is important, because we understand, we see politics in Australia in a unique way, our perspective needs to be shared here.

I was confident I would eventually come to Australia ... politicians, they don’t remain, but culture remains

“We were exiled by politicians, who have politicised human rights, and they have been using refugees as political tools. And so this work, alongside other work, is part of building resistance knowledge,” he says.

Boochani reflects on comments by Dutton, who in 2019 said Boochani “wouldn’t be permitted to come to Australia”. Dutton’s words were in response to New Zealand’s decision to give the writer a visa to attend an event, eventually granting him refugee status.

“I was confident I would eventually come to Australia. I was confident that resistance, that challenging power structures would end in success. And politicians, they don’t remain, but culture remains. Literature remains. Arts remains. And that resistance remains. And when you resist, you create something.

“Some of those politicians who barred me from coming to Australia, they’re gone. But I am here,” he adds.

Our Australian morning briefing email breaks down the key national and international stories of the day and why they matter

Behrouz Boochani is on his first visit to Australia to launch his latest book Freedom, Only Freedom. Photograph: Penny Stephens/The Guardian

Boochani says his freedom, and his current visit to Australia, are testament to the “historical” power of writing, but that he will always be affected by his time in offshore detention.

“I’ve learned how to live through this story, and this experience, that has been a big part of my life. It’s not easy to just get away from that. I was imprisoned for six years. I am carrying something around forever.

“And, of course, I have some anger, a political anger. It can be a positive thing to work to continue to challenge the system.”

Why it took Australia nine years to accept New Zealand’s refugee deal

Read more

He says he is disappointed to see offshore processing still in use by the Australian government, with the Refugee Council of Australia reporting that as of September this year there were 111 refugees on Nauru. When data ceased being published at the end of last year there were 105 in Papua New Guinea, in Port Moresby and Goroka.

“Australia is delusional in many ways,” Boochani says. “I think Australia should be honest, and face the reality that a colonial mentality still exists, and it should be fully, deeply recognised. That’s when we will see a fundamental change.

“I think nothing has really fundamentally changed in Australia. Two hundred people remain in Port Moresby and Nauru, and the government has done nothing to help them, to settle them.”

Boochani’s new book was written in collaboration with Moones Mansoubi and Omid Tofighian, who describes the work as “horrific surrealism”.

“Horrific surrealism is an interpretive schema that we used to try to understand everything to do with the situation, the political situation, the violence on the border, the experience in the camps and Behrouz’s own individual journey,” Tofighian says.

They wanted to show that refugees can be knowledge producers, Tofighian explains. “Refugees are having a unique perspective on the world that can teach us things, they can show us things about state violence that many of us never knew existed.”

Guardian Australia acknowledges the traditional owners and custodians of Country throughout Australia and their connections to land, waters and community. We pay respect by giving voice to social justice, acknowledging our shared history and valuing the cultures of First Nations.

© 2022 Guardian News & Media Limited or its affiliated companies. All rights reserved. (modern)

Friday 12.09.22
Posted by Akos Armont
 

Behrouz Boochani was told he would never set foot in Australia. He just did.

Behrouz Boochani has entered Australia three years after Peter Dutton said he would not be allowed to do so. But the Kurdish writer says his arrival should not be perceived as an achievement.

KEY POINTS

  • Kurdish writer Behrouz Boochani landed in Melbourne on Tuesday to promote new book.

  • It comes years after the previous government asserted he would never be permitted to enter Australia.

  • He said his visit is work-related and that he would continue to advocate for refugees and asylum seekers.

Kurdish refugee and writer Behrouz Boochani has landed in Australia years after the previous government insisted he would never be permitted to do so.

Mr Boochani, who now lives in New Zealand, arrived in Melbourne on Tuesday afternoon to promote his new book, Freedom Only Freedom.

It's been three years since the Liberal Party's then-immigration minister Peter Dutton insisted he would not be allowed to come to Australia. Defying the previous government's comments about his future in Australia could be perceived as an achievement, but Mr Boochani says his arrival shouldn't be seen that way.

"I hope that people here don't interpret this visit as an achievement," he said. "I don't look at it as an achievement. I just come here for work. An achievement like living in Australia or finally visiting Australia? No."

Since fleeing persecution in Iran as an ethnic minority in 2013, and attempting to arrive in Australia by boat from Indonesia, Mr Boochani was among hundreds who were placed in offshore detention for years. In 2019 he was granted a one-month visa to attend a New Zealand writers' festival and, later in 2020, received asylum status.

"I never fought to live in Australia. I was just trying, struggling to say that we are political hostages, so let us go," he said.

Mr Boochani made headlines after sensationally shedding light on Australia's immigration detention system in Manus Island in a 2018 award-winning book compiled from WhatsApp messages. He said his visit to Australia is work-related and that he would continue to advocate for refugees and asylum seekers.

Mr Boochani accused the Labor government of remaining complacent towards asylum seekers who remain in offshore detention. As of September, the Refugee Council of Australia has recorded the Department of Home Affairs transferring 111 people to Nauru. As of December 2021, 105 people were transferred to Papua New Guinea.

"We have said many things for many years but it seems that Australia didn't listen so now I am here to raise this issue again," he said. "After the election, during the election campaign, the Labor government manipulated people, the public. People think something changed about refugees. but nothing changed with refugees," he said.

Labor supports Operation Sovereign Borders — introduced by the Coalition in 2013 — under which boats carrying asylum seekers are turned back where safe to do so.

SBS News has contacted the Department of Home Affairs for comment.

Source: https://www.sbs.com.au/news/article/behrou...
Friday 12.09.22
Posted by Akos Armont
 

BRABHAM secures 'Official Selection' at 2021 Switzerland International Film Festival

Thursday 11.18.21
Posted by Akos Armont
 

Brabham film wins gongs at the 2021 International Motor Film Awards

Screen Shot 2021-09-14 at 3.47.39 pm.png

The 2019 - 2020 released feature documentary BRABHAM (produced by Aurora Films, in association with Heckler Hq) has been honoured at the 2021 International Motor Film Awards, held in London U.K., with 2 major awards:

BEST DOCUMENTARY
BEST EDITING

Congratulations to the film’s supporters, cast and crew for a wonderful outcome.

Thursday 09.16.21
Posted by Akos Armont
 

No Friend But The Mountains - A Voyage Through Song: Now Available on ABC iView →

Click the
Thursday 09.02.21
Posted by Aurora Films
 

'Music is a way of reclaiming time': Behrouz Boochani's lauded memoir becomes a poetic musical event

The_Guardian_logo_logotype.png

Steve Dow

Sat 20 Mar 2021 06.00 AEDT

A little blond girl plays in the shallows at Christmas Island, oblivious to a tugboat filled with exhausted refugees pulling up to a pier for Australian government “processing” in the middle of the Indian Ocean. For Kurdish-Iranian asylum seeker and writer Behrouz Boochani, traumatised by nearly drowning at sea and still struggling to walk, this girl is “like the cool gentle breeze this sunny day”. She is his “first real impression of Australia”.

London-based Australian composer Luke Styles, who has created a song cycle out of Boochani’s critically lauded memoir No Friend But the Mountains, felt an affinity with the book’s striking image of the little girl because “the beach is so ingrained in us as Australians”. Using 1,280 of Boochani’s words as a libretto, the cycle will premiere in Melbourne on Sunday in a performance by the Zelman Memorial Symphony Orchestra, the Melbourne Bach Choir and bass baritone soloist Adrian Tamburini.

The cycle’s seventh song, about the little blond girl, begins with uplifting, lyrical singing accompanied by an attractive melody. But then the song lines become “infused with a very dark, dissonant harmony”, and percussive music takes hold, reflecting Boochani’s widely shared anger over the Australian government placing children in detention. “Where in the world do they take children captive and throw them inside a cage?” writes Boochani.

The song cycle follows the memoir’s trajectory: the first half is a sea odyssey, followed by a section dominated by a “weaving, dark line” of bass clarinet, tuba and low strings to accompany Boochani’s observations of the island prison. The work finishes by drawing on some of Boochani’s final philosophical lines and lamentations.

To continue reading this article click [here]

Monday 03.22.21
Posted by Akos Armont
 
sbs-world-news-2018-logo-4852458C45-seeklogo.com.png
Sunday 03.21.21
Posted by Akos Armont
 

Behrouz Boochani’s life is being told in song, but he’s not allowed to hear it

Sydney_Morning_Herald_logo.svg.png

By Kathy Evans

March 12, 2021 — 4.00pm

Behrouz Boochani grew up with music as a second heartbeat. In the place where he lived, its rhythmic synchronicity marked time and occasion and gave voice to submerged feelings. And then one fateful day in 2013, it stopped.

That was the day the Kurdish-Iranian writer, academic and filmmaker was incarcerated in the Manus Island Regional Processing Centre, where all attempts at creativity were brutally quashed. Boochani recalls witnessing a fellow refugee clinging to his guitar, having it snatched from his hands by security guards. “It was surreal and horrific,” he says. “He was a musician; he relied on his guitar to survive, to feel freedom and find some beauty. Music had an important role in our lives there, in those circumstances.”

For six years Boochani lived in the dark existential uncertainty that defined life on the island. He chronicled his torment in the book No Friend but the Mountains, secretly tapping into a mobile phone in his native language, Farsi, and sending it via WhatsApp to be collated and translated, laying bare the dehumanising effects of life in detention. The memoir was critically acclaimed and won numerous prizes, including the Victorian Prize for Literature in 2019. Boochani is now a prominent figure in Australian history without ever having set foot on the mainland.

And his voice is about to get louder. The book is the inspiration for Australian composer Luke Styles’ symphonic song cycle of the same name. Using poems and lines from the text, it goes beyond Boochani’s harrowing experience on Manus to explore wider themes of incarceration and the search for a safe haven; recurring aspects of Australia’s story, both recent and past.

Boochani’s story is the most recent iteration of an important part of Australia’s narrative, according to Styles, who was drawn to the parallels that exist between the islands of Australia and Manus; both beautiful, remote and a distant paradise to many, while also being places of isolation and imprisonment. As much as Australian identity is shaped around optimism and discovery, it is also moulded from despair, disappointment and harshness. Incarceration, he reminds us, is very much part of our tapestry.

To continue reading this article [click here].

Monday 03.15.21
Posted by Akos Armont
 

No Friend But The Mountains inspires a song cycle

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We talk to composer Luke Styles and Kurdish-Iranian journalist, writer and film-maker Behrouz Boochani about the new symphonic song-cycle based on his book, to be premiered by the Zelman Symphony Orchestra.

by Angus McPherson on December 14, 2020

No Friend but the Mountains, the award-winning book by Kurdish-Iranian journalist, writer and film-maker Behrouz Boochani chronicling his perilous journey as a refugee and his incarceration on Manus Island, is the inspiration for a new symphonic song cycle to be premiered by the Zelman Symphony Orchestra.

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Behrouz Boochani. Photo © Hoda Afshar

Australian composer Luke Styles will set text from Boochani’s poetic and harrowing memoir, which was written under extraordinary circumstances – typed as hundreds of text messages on a smuggled mobile phone and translated from Farsi by Omid Tofighian. It went on to become an international best-seller and to win a swathe of prizes including the Victorian Prize for Literature and the Prize for Non-Fiction at the 2019 Victorian Premier’s Literary Awards, the 2019 NSW Premier’s Award, the 2019 National Biography and more.

Boochani, who was incarcerated on Manus Island from 2013 to 2019, is now living free in New Zealand where his refugee status was formally recognised and he has been granted a visa to live.

The new song cycle, which was intended to premiere in November this year before the COVID-19 pandemic forced its postponement, will be performed next March at the Sidney Myer Music Bowl, as part of Arts Centre Melbourne’s Live at the Bowl Summer Festival. Bass-baritone Adrian Tamburini will sing the work with the Zelman Symphony Orchestra and Melbourne Bach Choir, conducted by Rick Prakhoff.

“Behrouz’s story is the most recent iteration of an important part of Australia’s story,” said Styles. “He was imprisoned on Manus Island, a place of incredible beauty and intense isolation. Australia is itself a beautiful and remote island that was a multifaceted prison that has incarcerated its own people, convicts, migrants, first peoples and refugees alike, throughout its modern history.”

“The idea to look at Boochani’s book as a possible source for a new work came from the singer Adrian Tamburini (who the work is being composed for),” Styles tells Limelight. “I read the book and in it saw a contemporary iteration of Australia’s ongoing history of incarceration and isolation. I was midway through rehearsals of my opera Ned Kelly so themes of Australian identity were very much on my mind. From here I delved deeper and found a very lyrical tone in Boochani’s text and the potential to create a new song cycle, which would raise a myriad of themes for the listener, but most importantly that would evoke a new music.”

Boochani tells Limelight that music is a part of his life and background as a Kurdish person. “Music is a strong element in the Kurdish culture and it exists in many parts of our lives,” he says. “We believe that Kurdish culture survives because of music.”

“I sing too and I listen to music too, so when I was on Manus Island, sometimes I felt that I survived because of music,” he explains. “When I was writing the book, I was listening to classical music. Definitely music impacts my work. I am aware that there is a strong musical element in my work and it’s important to take that element and produce an independent work.”

“This project is very special. I am completely aware that my book has some strong musical elements. In my movie, Chauka Please Tell Us the Time, the music is one of the strongest elements. In all my work, music is important.”

Boochani listened to Styles’ music and spoke with the composer as part of the process. “We had a long conversation,” he says. “We talked about music on Manus and how living in a prison like Manus, life is very silent.”

For Boochani, the story deserves to be set to music. “It is a huge story and very important in the history of Australia. I look at it in a historical way. I’m very disappointed with the current generation because it doesn’t want to know about this tragedy,” he says. “I’m working and sharing this story in different languages and music is a very powerful language. We are able to share the story of the Manus Prison system with people.”

The historical element is important, he explains. “We are recording this part of Australian history for the young generation or next generation. We should understand that the Australian government has done this and it still continues and nothing happens. The government is able to justify the violation of human rights. It is a reality.”

“I am telling the story and making sure the history is not lost,” Boochani says. “It is a reality and sadly we accept it. I am very disappointed with the community’s response. This is how I look at it.”

Monday 12.14.20
Posted by Akos Armont
 

Aurora Films’ Ákos Armont and Antony Waddington option Helen Garner novel

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by Don Groves October 28, 2020

Aurora Films’ Ákos Armont and Antony Waddington plan to turn Helen Garner’s novel The Spare Room, a drama about a woman who cares for her cancer-stricken friend, into a feature film.

Eamon Flack, the artistic director of Sydney’s Belvoir, will make his screen directing debut on the project.

Published in 2008, the novel follows the relationship between two women, Nicola, who has advanced bowel cancer, and her friend Helen.

When Sydney-based Nicola goes to Melbourne for the treatment she hopes will cure her, Helen becomes her nurse, protector, guardian angel and judge.

Helen Garner

Helen Garner

Garner’s literary agent sent the tome to Waddington in 2009 when he was raising the finance for Fred Schepisi’s The Eye of the Storm and he has wanted to turn it into a film ever since.

Last year the producers met the author and optioned the screen rights. “We are both enormously encouraged that Helen allowed us to take her work and develop it: a great privilege and responsibility,” Armont tells IF.

“Her willingness to explore taboo subjects with candour and grace, places her as one of our most inspired and original national treasures in literature.”

Waddington said: “The Spare Room is a life-and-death story about friendship, honesty and self-scrutiny. If ever there was an homage to women in our lives, it’s this master work.”

The producers are in discussions with writers and key cast and exploring UK co-production opportunities.

Flack’s productions of The Glass Menagerie and Angels in America won Helpmann Awards for Best Play. His other key directing credits for Belvoir include Counting and Cracking (winner of the Helpmann Award for Best Direction of a Play and nominated for the Sydney Theatre Award Best Direction of the Mainstage Production), his adaptation of Hendrik Ibsen’s Ghosts, The Rover, The Great Fire, The Blind Giant, Mother Courage and Babyteeth.

After producing Brabham,  the Armont-directed feature documentary on Formula One race car champion Jack Brabham (available in Australian via Stan), Waddington and Armont are developing Kurdish refugee journalist Behrouz Boochani’s harrowing memoir of life in detention under Australia’s offshore processing regime.

Aurora Films is co-producing No Friend But The Mountains: Writing from Manus Prison, with Hoodlum Entertainment and Sweetshop & Green, to be directed by Buoyancy’s Rodd Rathjen.

The producers pitched the project at the Toronto International Film Festival’s International Financing Forum and received very positive responses from buyers, sales companies and streamers. Financing is underway.

Armont added: “Our capacity to move quickly in acquiring properties that we are passionate about is critical to our success. As a company focused on early development, we generally wear all the risk upfront – a situation made more challenging with the changes to the Producers Offset announced by the Federal Government.

“Nevertheless, our ability to forecast the viability of concepts years down the line and align our projects with the right international partners is a fundamental aspect of our success to date.”

Thursday 10.29.20
Posted by Aurora Films
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