Previous winners

Benjamin Rosenberg of Toowoomba Grammar School (QLD) received the 2023 Best Overall Filmmaker Award for his films, ‘Golden Hour’ and 'Mitchell'.

How did you hear about BUFTA and why did you decide to enter the competition?

I heard about the competition 3 years ago as one of my friends from year 12 was entering the competition. From there I learnt about the incredible awards and opportunities given out by BUFTA. I’ve only heard good things about Bond, especially their film and television course, so I planned to submit something for the chance to be a part of the BUFTA award ceremony.

What was the most rewarding experience you gained from the BUFTA experience?

One of the most rewarding experiences was seeing the Bond students organise and execute the filming of the night. I thought the live filming was excellent and inspiring for me as I am keen to be a part of the 'behind the scenes' of BUFTA next year. I also loved watching the other films submitted as they were all super impressive and were a testament to the things that you can do with a film, despite a small budget. Along with this, making my parents proud was (and always will be) a rewarding experience.  

What is your favourite film genre and why?

My favourite genre of film would have to be a mix between comedy, horror, sci-fi, and documentary. It’s difficult to choose just one, given the infinite storytelling capabilities present in all four genres. The aesthetics and unique styles within these genres have had a significant influence on me and the kind of films that I aspire to create, or help create, in the future.

How long did each of your films (“Golden Hour” & “Mitchell”) take to make from start to finish? Was one more time-consuming than the other, and why?

My documentary ‘Mitchell’ took around an entire semester last year to create, as myself and Mitchell both went in without having a clear plan or structure for the end product. The creation of the short happened organically as I followed Mitchell around, focusing on his abilities and his optimistic view on life. Interviews happened later as we had grown closer as friends, making the interview process more relaxed and informal (which I believe was a huge positive).

‘Golden Hour’ on the other hand had a clear plan and structure from the beginning. Filming and editing happened concurrently as it sped up the entire process. We only shot for half an hour on Wednesdays and Sundays each week, as that was the only time when everyone was available. The time slot was small as I wanted to shoot the entire project during sunset, which was 4:30 to 5 pm. I would rehearse with the actors on weekends and lunchtimes so that we wouldn’t waste time when filming in the afternoon. Other scenes like the ‘UFO interior’ scene was shot in my parent’s garage and the ‘carpark’ scene shot late at night. This project took 10 weeks to create as myself and the crew had to balance schoolwork and other extracurricular activities.

What challenges did you encounter producing your films? How did you overcome these challenges?

Eventually the production of both short films overlapped so it was challenging to find appropriate time for both whilst also keeping up with school. The best way to overcome this was to plan ahead and to negotiate with everyone on convenient times. My friends, who were also my actors, were incredibly generous and reliable with the time they all gave up creating my short film. With Mitchell, I was able to film scenes by simply following him around, constructing scenes out of the footage in the editing room. My best advice for overcoming all challenges on short films is to give yourself more time than you think you’ll need, because you’ll likely need it.

What is your ultimate career goal?

My ultimate goal in life is to become a writer / director of feature films. Due to the technological advances in cameras and equipment, this dream has become more accessible to me and many other aspiring filmmakers. We live in exciting and challenging times, and I think it’s the best time, more than ever, to share stories and messages through the medium of film and television.

Do you have any advice/tips and tricks for future BUFTA entrants?

I think it is a good idea to submit more than one film in different categories / genres. This gives the opportunity for judges to see your range as a filmmaker. Also make what you want to make, don’t overthink it – just be yourself. Make sure to plan ahead regarding what you want to submit to BUFTA (I had set out to create two specific short films at the beginning of the year). Whatever you make will be worthwhile as learning experiences come naturally when creating art. Try to experiment and don’t set an incredibly high standard for yourself, no film is completely perfect. Embrace imperfections instead of avoiding them, viewing them as a positive can often make your film more unique and charming.

What are you most looking forward to about starting at Bond University?

I’m very much looking forward to being around like-minded people who are also passionate about filmmaking. I'm keen to get formal training in each aspect of filmmaking as I’ve never had film and television as a subject beforehand. Also, to help out any way I can on other people’s projects and to develop my own student films with the incredible equipment and resources provided by Bond.

What is the biggest/most important thing you learned from the BUFTA competition and process?

From watching the other films submitted and creating my own, I think it’s important to not be limited by budget. Never let your ideas and goals be diminished by lack of resources, always strive to find creative workarounds to achieve your central idea or message. Be kind and grateful to those who help and support your film, as their individual contributions will always improve the end product.

What inspired you to pursue film and television?

I distinctly remember my brother showing me the behind-the-scenes DVD of the Lord of the Rings Trilogy when I was 10 years old. Ever since realising films were created through a team of artists and creatives, I’ve wanted to be a part of it in some way. I think the combination of sound and visuals is the best form in which to teach and share stories with an audience. The number of techniques, styles, and potential found within filmmaking is endless, which I find super exciting.

Can you share what your inspiration was for “Golden Hour” and/or “Mitchell”?

The main inspiration for 'Golden Hour' was old 50’s sci-fi films and TV shows, such as 'Plan 9 from Outer Space' and the original 'Twilight Zone' television series. I was also inspired by Robert Eggars and his film 'The Lighthouse' and Jordan Peele’s 'Nope'. All films and shows I love dearly that I think will inspire me forever. For 'Mitchell', I was inspired by films such as 'Eternal Sunshine of the Spotless Mind', ‘Aftersun' and Chris Nolan’s ‘Memento'.

Indiana Allen of Iona Presentation College (WA) received the 2022 Best Overall Filmmaker Award for her film, ‘Scars’.

How did you hear about BUFTA and why did you decide to enter the competition?

I heard about BUFTA through the media department at my school. I also knew of past students who had entered the competition and it seemed like such an exciting opportunity to showcase my film. My media teacher encouraged me along with the other students in my media class to enter our films into BUFTA.

What was the most rewarding experience you gained from the BUFTA journey?

Meeting industry professionals and current film and television students was so rewarding. Having the opportunity to watch all of the other films in different genres created by students from all over Australia was also very inspiring. I also loved the events that took place during the day such as the campus tour and, of course, the event itself.

What is your favourite film genre and why?

Recently I have started to watch a lot more science fiction and dystopian fiction. As an aspiring filmmaker, the creation of dystopian films is very exciting to learn about. I also love filming with green screen and that’s why I love watching science fiction and films with a lot of CGI and special effects. On the other hand, I also love comedy and the feel-good aspect of sitcoms.

How long did your film ‘Scars’ take to make from start to finish?

The pre-production phase of my film was definitely the longest. I spent a lot of time working on the script and developing the character, plus the overall concept of the film. I think I worked on those aspects for roughly three months, even before I started production. I shot the entire film over a two-day period and post-production lasted roughly 2 to 3 months. It was a very hectic but exciting film to make.

What challenges did you encounter producing the film? How did you overcome them?

Working with green screen was definitely a big challenge for me, as I had not done anything quite like it before. I had to make sure I watched the footage back extra carefully after filming a scene with green screen, to make sure I was producing the most authentic and high-quality result. Another challenge was filming the car crash scene. I really wanted to execute this well, so I spent quite a lot of time on it. I improvised and changed up the scene a lot throughout the two days of filming. It really helped to watch a few car crash scenes from different films and gain some inspiration from these.

What is your ultimate career goal?

I know I want to do something in the film industry as that is where my passion lies. Ultimately, I would love to be a screen writer and possibly even a director in the future.

Do you have any advice, or tips and tricks for future BUFTA entrants?

My biggest piece of advice would be to trust your creative instinct always. What’s really exciting about creating a film is the level of creative control you have over every choice you make. Don’t be afraid to make changes to your film along the way. Showing your film to your family and friends and getting feedback is also really helpful, as it’s always good to have another perspective and opinion.

What are you most looking forward to about starting at Bond University?

I am so excited to start at Bond University as it seems like such a warm and inclusive place. At BUFTA I met some lovely people and Bond seems like such a close community. I can’t wait for the opportunities that I know this university is going to provide for me. I am so excited and grateful that I’m going to be studying  my dream degree and doing what I love.

What is the biggest/most important thing you learned from the BUFTA competition and process?

I learned to have a bit more faith in my film and to expect the unexpected. You never know what might happen and what results may occur. I also learnt that it is important not to compare your film to someone else’s. It can be tempting to do so especially when it’s a competition, but ultimately, focusing on your own film and not overthinking is something I have learnt from the BUFTA competition and process.

What inspired you to pursue film and television?

Ever since I was really young, I’ve always had a love for making films. My favourite thing about filmmaking is definitely telling a story that sticks with people. I think film is such a powerful way of evoking emotion. Studying media in high school also really inspired me to pursue film and television outside of school. Watching other short films that students have created has been so motivating and has given me plenty of inspiration. My love for filmmaking has risen to a whole new level.

What was the inspiration behind ‘Scars’?

I always knew I wanted to create a film that would connect with people on a personal level.  Although ‘Scars’ is a sad story showing pain and grief, I think what is special is that it also highlights the importance of friendship, something that people can universally relate to. I also wanted to create a sense of hope for people who may have lost someone close to them, by showing that strong bonds can’t be broken. This is an important message for people who are struggling with grief to hear, and that’s why I wanted to create ‘Scars’.

Ryan Thwaite of Palm Beach Currumbin High School (QLD) received the 2021 Best Overall Filmmaker Award for his film ‘Veronica’.

How did you hear about BUFTA and why did you decide to enter the competition?

I took home a couple of booklets from a university presentation day at school. I knew I wanted to do something creative and was leaning towards film the most. The book said to apply for scholarships, so I found BUFTA through a google search.

What was the most rewarding experience you gained from the BUFTA experience?

Meeting all the teachers and students. They were so nice and welcoming, and they made the experience really enjoyable.

What is your favourite film genre and why?

Science Fiction films like “Interstellar”, “Resident Evil” and “The Hunger Games”. I like the genre most, as it doesn’t feel too far from reality. I enjoy seeing how technology/governments could go bad, and watching people fight themselves out of bad/dystopian situations.

How long did your film ‘VERONICA’ take to make from start to finish?

I started in the middle of April and finished at the start of September. It didn’t seem like that much work when spread over a long period. I would just slowly chip away at it for a few hours each day, where I would usually be on my phone or watching TV. There was an entire month I barely did any work on it, until I realised the deadline was coming up — that’s when I panicked and had to knuckle down and get it done. The sound took a long time too because I tried to match a sound effect to every little movement.

What challenges did you encounter producing the film? How did you overcome them?

Editing in iMovie – when I hit a certain number of video files, the app would crash. I worked around this, however, when I started adding sounds, the app overloaded, and every single sound fell out of sync. I ended up spending $50 to get a better app, called ‘Lumafusion’, which improved the quality of the film, allowing me to add effects like steam and mist, and to adjust the saturation and brightness of colours.

What is your ultimate career goal?

My ultimate career goal would be to help design and build the settings, props, and costumes on live-action films. I think it would be rewarding to conceptualize things in a studio/office type environment, and then to go out and build them for real, and see the ideas come to life. I’d like to be outside a lot, travelling to different places and seeing different things.

I’d love to stay in Australia. Hopefully Gold Coast will become a film hotspot, and there’ll be job opportunities at places like Village Roadshows. It would be so cool to work there, on the same stages they created sets for Aquaman and Thor.

Do you have any advice/tips and tricks for future BUFTA entrants?

Once you’ve finished your film, get your family and friends to watch it and give you feedback. Make sure they can follow what is happening, and that everything makes sense. Parts you think make sense may not translate to the screen.

Try to make your film short and concise. Cut down the overall time at the end by finding moments audiences may get bored. Maybe get family and friends to help with this too.

(These were the areas my film fell short, but I could have fixed with hindsight)

What are you most looking forward to about starting at Bond University?

I’m excited to have electives that are completely design/art/film oriented, as opposed to high school, where you do a broad range of subjects. I want to try everything and see what I like the best.

What is the biggest/most important thing you learned from the BUFTA competition and process?

The most important thing I improved on was problem solving. Besides the technical problems I faced, the bigger issue was the time restraints, and that I had to complete the workload entirely on my own. I got faster at animation as I went along by using the technology to its greatest potential and finding innovative shortcuts for each stage in the process:

storyboarding -> lines  -> solid colour  -> shadows  -> texture  -> gradient mapping

Gradient mapping was the most important shortcut I found. To begin with, I coloured each frame in shades of grey (only worried about getting a strong contrast). Then, with the Procreate app, a colour would be assigned to each shade of grey. I would apply the same formula to colourise each frame of the animation.

What inspired you to pursue film and television?

Film encompasses everything I like — English, design, art… and there just seems to be so many fields within it, which I think would make every workday new and exciting. It’s really important for me to find a job that I enjoy.

What was the inspiration behind ‘VERONICA’?

I admire the style of the scary stop-motion films made by Laika and Tim Burton. As opposed to other animation companies, they use puppets, and make all their props and settings by hand, and you can tell a lot of artistic thought goes into every little element. I took inspiration from these films to create the overall look of the animation.

Austin Macfarlane from Anglican Church Grammar School (QLD) received the 2019 Best Overall Filmmaker Award for his films, 'Mates' and 'White Knuckles'.

How did you hear about BUFTA and why did you decide to enter the competition?

I first heard about BUFTA was when I was in Year 9. Our media teacher, Mr Stephen Taggart, brought it to our attention and encouraged students to share their stories through this platform. Other Churchie students were nominees in previous years which motivated me to enter. I was fortunate enough to attend BUFTA as a nominee in 2018, and subsequently attended Bond’s cinematography course the following year. Both experiences demonstrated the friendly community & environment that Bond University provides.

What was the most rewarding experience you gained from the BUFTA experience?

There were a variety of great experiences I gained from BUFTA, most evident of which is gaining a full scholarship to attend Bond. In addition, I found that meeting like-minded people passionate about film, as well as people currently in the industry, was incredibly rewarding. The amazing work presented on the evening has pushed me to keep experimenting and keep improving my own work.

Are you looking forward to working on BUFTA behind the scenes?

To be a part of BUFTA as a nominee was an incredible experience – everything was conducted so professionally and seemed to run without a hitch. Yet it’s the behind-the-scenes working of BUFTA that really seems interesting to me, especially considering it’s Bond students who work tirelessly to run the whole event. During my BUFTA experience, all students created a welcoming environment for all the nominees, and it’s clear they have an energy and desire to showcase others works. It’s definitely something I’m looking forward to being a part of.

What is your favourite film genre and why?

I don’t really consider that I have a strong favourite genre, however the ones that come to mind are coming-of-age (The 400 Blows, Lady Bird, Swiss Army Man) and drama/thriller (Parasite, Whiplash, The Prestige). As much as film can be considered escapism, the relatability that comes with the coming-of-age genre is often unmatched. I really enjoy films that feel personal – films that I can connect with. On the other hand, there’s nothing like gripping your seat in a cinema, freaking out over a genuinely suspenseful scene.

Both films I entered into BUFTA – one about students skipping school, the other exploring the dynamics between friends under frightening circumstances – contain elements from both genres to a certain extent.

How long did your films ‘Mates’ and ‘White Knuckles’ take to make from start to finish?

It took about 4 weeks to produce White Knuckles alongside my other schoolwork, yet almost 3 months to create Mates from first generating the idea to the final export. Even now there’s a variety of things I’d change about both films, so it’s always difficult to tell when you’re really ‘finished’ with a particular project.

What is your ultimate career goal?

My career goal is to create films for my own and other people’s enjoyment. To work on a feature film in Australia or elsewhere would be the pinnacle, as I’m sure it would be for countless others. Ultimately, I’d like to be satisfied with the final result – if other people enjoy them that’d be pretty cool too. In the short-term, I’m looking forward to furthering my own filmmaking style over the course of the next 2 years at Bond.

Do you have any advice/tips and tricks for future BUFTA entrants?

I often come up with an idea for a film and think to myself that I’d love to see that story be told. Either I wait until someone miraculously produces it, or I make it myself. So, make the films you want to watch. Your unique passion and drive will be made known in whatever you set your mind to.

From a technical standpoint, many of the techniques I employ in my films derive from the films I love. So, keep watching movies!
Likewise, write what you know. If you hear a cool story or a funny joke, then I recommend you write that down. You never know, it might turn into a great film one day.

Charlie Falconer from Grace Lutheran College (QLD) received the 2018 Best Overall Filmmaker Award for her film, 'Cue Overreaction'.

How did you hear about BUFTA and why did you decide to enter the competition?

I had gone to multiple open days for different Universities that offered a Bachelor of Film and Television course and then I heard about Bond through a social media advertisement. I researched further into the university and found that they were hosting screenwriting and cinematography workshops. I attended the cinematography workshop and I found that the university had a real welcoming and community feel to it that other universities didn’t have. So when I heard about BUFTA I knew I had to take the opportunity.

What was the most rewarding experience you gained from the BUFTA experience?

Many people would think that winning the scholarship would be the most rewarding part, but for me it was putting my whole heart into something I’m passionate about. From the pre-production planning, to the seemingly endless hours of filming, to trying to piece everything together in post. I always struggled with creating an engaging plot so I spent hours thinking about every little detail and what I could do to create a unique storyline. Once it all came together, I felt like I achieved something within myself.

What is your favourite film genre and why?

Crime is my favourite genre because it displays experiences that I probably won’t encounter in my own life. If you look at the films Pulp Fiction (1994, Tarantino), No Country for Old Men (2007, Coen) and Trainspotting (1996, Boyle), they all come from the Crime genre, but they are all so different with their story and style. For one genre, there's so much variety in storytelling and that’s why I find it so interesting.

How long did your film ‘Cue Overreaction’ take to make from start to finish?

Overall it was around 9 months – I first had my ideas late December 2017 and I finished editing late September 2018.

What is your ultimate career goal?

To become a successful Cinematographer. But ultimately, work alongside directors like Quentin Tarantino, Wes Anderson and David Fincher.

Do you have any advice/tips and tricks for future BUFTA entrants?

Don’t waste your time making heaps of films to enter into BUFTA because you think the more films you have, the better chance of winning. Put 110% into an idea you’re really passionate about, instead of putting only 25% into 4 or so films. You’ll just overwhelm yourself and then you’ll forget about the little details that could’ve made one of your films incredible. Quality over quantity.

Harry Weston of Guildford Grammar School (WA) received the 2017 Best Overall Filmmaker Award for his film, 'Dulce et decorum est, pro patia mori'.

How did you hear about BUFTA and why did you decide to enter the competition?

Studying media at Guildford Grammar, we are always told about the BUFTA Awards, and former winners or nominees from Guildford Grammar. The competition is held in very high regard and is something, as young students, we strive for. When we reach Years 11 and 12, our media teachers will enter our films regardless so we all have a chance of making it. So essentially its through our school I heard about the competition and decided to enter it due to the encouragement of our teachers.

What was the most rewarding experience you gained from the BUFTA experience?

It’s hard to say, but the most rewarding experience (apart from winning the scholarship of course) was seeing the appreciation and respect people showed my film. When I was making the film I didn’t think anyone would be interested in it until the BUFTA Awards Gala when many professionals and other media students and their families enjoyed my film and appreciated it, as well as understood its message.

What is your favourite film genre and why?

Sci-fi/ Fantasy because they require and showcase a massive use of imagination – which is something I think is the most amazing thing about filmmaking: the use of the imagination. Also, there are some amazing films in these genres such as the Star Wars franchise and The Lord of The Rings trilogy.

How long did your film ‘Dulce et decorum est, pro patia mori’ take to make from start to finish?

Collectively 7 months or so, it began in early March and finished in late September.

What is your ultimate career goal?

To become a successful and well renowned filmmaker.

Do you have any advice/tips and tricks for future BUFTA entrants?

In my opinion, the most important thing for future BUFTA entrants to consider and abide by is to create a film that they want to make, not a film they think will give them a win or the film everyone thinks they should make, the film they want to make. Making a film you love and want to make is the most rewarding experience, and makes the film better because it’s made with passion. Do what you want.

Willem Kingma from Kardinia International College (VIC) received the 2016 Best Overall Filmmaker Award for his films, 'NOT QUITE RIGHT' and 'Suicide - Tiny Giants'.

How did you hear about BUFTA and why did you decide to enter the competition?

I heard about BUFTA through my teacher Michelle Liddy, and I probably wouldn’t have made the deadline had she not reminded me to check my emails (something I tend to neglect). I guess I entered the competition because I figured if I didn’t, nothing would happen, so I gave it a crack because maybe something would come out of it. I have a tendency to be a bit spiteful towards my own work, so had Michelle not egged me on I probably wouldn’t be in the position I’m in now!

What was the most rewarding experience you gained from BUFTA?

The most rewarding experience I gained from BUFTA was simply the recognition. Being nominated alone was thrilling, because I really wasn’t used to my work being recognised. It was pretty overwhelming hearing my name being called up to receive an award as well, because I was used to sitting in the audience whilst people received praise for footy or cricket. The extent of my trophy collection was participation awards for cross country and cricket, and a medal for tap dancing when I was age 5 (I’d like to note that I was particularly bad at both cricket and tap dancing).

You entered several films in different genres, what is your favourite genre and why?

I would have to say that my favourite genre is Comedy, and I think it’s because i really don’t know how the audience will react when watching it. I initially wrote my film “NOT QUITE RIGHT” believing it potentially had humorous qualities, but I never envisaged any form of out loud laughter like I heard in various screenings, especially at the BUFTA awards night, I found that completely bizarre. I love this unknown quality, because I don’t have any preconceptions about how the film will be received, it makes the whole experience really interesting I think. I like this genre as well because whilst music videos are great, and I get to build upon the creative works of others and interpret their meaning, with comedy I get to start completely from scratch, and make something that is entirely my own, and contains my own meaning.

What were the main motivators/ideas behind your two winning films ‘Suicide – Tiny Giants’ and ‘NOT QUITE RIGHT’?

When making ‘Suicide’ for Tiny Giants, I really wanted to tap into this upbeat melancholia that the song conveyed. We knew the song clearly tapped into a lot of touchy subject matter, with it’s pretty upfront lyrics that develop as the song progresses, so that is why we had to make sure that visually it was all pretty tame, but implied the meaning behind the song. Depression is something that I have experienced first-hand within my family, my Mum suffering from Bipolar Disorder. This was the same for Jasper, George and Ettiene, so I believe the main idea behind the video was to portray this state of disarray that accompanies mental illness, and in particular the bizarre toll that adolescence takes on so many people. A big motivator behind making this clip was that, for the guys, I think they wanted this to be a sort of break out album, though they wouldn’t say that themselves because they’re much too humble. The album is on vinyl now, so I think it made sense to break away from our spur of the moment videos we had been making, to actually story board something special.

“NOT QUITE RIGHT” was something of a compilation of scattered ideas that I had developed over a span of two years in the form of drawings, scribbles and writing in notebooks. I had all these characters that I had intended to make short animations for each individual story, but it was something that I never completely got around to. When it came time to create our final production for year 12 media, I knew I wanted to use these ideas in some way shape or form. I realised that the interest point of my characters was their flaws, so the underlying theme of the film became the beauty of imperfection. This is a value I actually hold, so the film is literally me expressing my interest in the off-beat qualities of life. I guess one of the big motivators was to finally create a book ended piece of work that I had really put a lot of thought and effort into, because too often I began to doubt my capabilities as a filmmaker, especially as adulthood began to approach. It’s daunting not knowing where your place will be in the world, especially in the creative industry which is constantly stigmatised as leading to financial instability. So, a big motivator was also the cathartic feeling when creating something I loved.

What is your ultimate career goal?

I think at this point my ultimate career goal is to keep making films and art until I die. I just want to do what I love, and a big component of that is telling stories. Whether I convey stories as a screenwriter, an animator or a director, I’m not too fussed, I just love to make ideas come to life.

Do you have any advice/ tips and tricks for future BUFTA entrants?

My only tip or trick for future BUFTA entrants is to make a film for yourself. As soon as you go into creating something with the sole intention of fitting an audience criterion, you lose your connection with the film, and you don’t allow for people to interpret the meaning you created for yourself. Make something for yourself, and the experience will be much more surprising, because the only expectations you initially had evolved from yourself.

Elizabeth Cullen from Cairns State High School (QLD) received the 2015 Best Overall Filmmaker Award for her films, 'The Artist' and 'Alone'.

How did you find out about BUFTA and why did you enter?

“I decided to enter because I’ve always had a passion for filmmaking, I made these films for a school assessment and everyone seemed to respond well to them and my teacher was the one who said to enter.”

Are you planning to study film and TV?

“Yeah… that is an avenue I’m definitely looking at as well as acting – I’m not 100 per cent sure yet but if BUFTA gave me the opportunity to study Film and Television I would definitely take it.”

What’s your favourite film out of the two?

“Probably Alone just because it was my first big film I ever made and everyone seems to like it. I also had entered it into a few other competitions and it has won some awards…I think it’s a really nice film and it’s really close to my heart.”

What about your film ‘The Artist’ are there any unique aspects you can identify?

“It’s got a really weird story, it can be difficult to understand. You have to read between the lines to understand it.”

What’s weird about you Elizabeth?

“I think I’m just kind of a weird person in general, I think I seem quite normal when you first meet me but once I get comfortable with you I get weirder and weirder.”

Thomas Evans from Corinda State High School (QLD) received the 2014 Best Overall Filmmaker Award for his films, 'The Walk' and 'Against the Sky'.

How did you hear about the BUFTA competition and what was your main reason for entering?

I got into talking about my films with a lady at the Gold Coast Film Festival booth at Brisbane Supanova in late 2013. She told me about BUFTA, the scholarship, and gave me a GCFF postcard with ‘BUFTA’ written on the back. I went home and tacked it up on my wall. I was dead set on doing animations for my final year of art class already, so I figured I’d do both. In addition to a good academic score, a fully paid scholarship was a very tantalising goal to work towards!

Your winning film is of an animation genre, do you have a favourite genre and why?

Science Fiction is easily my favourite genre to watch – I get that from my family. The thrilling adventure of Star Wars, the moral and ethical themes of Star Trek, and the gritty realism of the newer Battlestar Galactica have all been huge influences on me. I tend to think of animation less as a genre, and more as a medium. So far I’ve continued to work with animation and lego mainly because of the creative freedoms they lend themselves to. I’m looking forward to playing with a whole range of genres in the future – hopefully some science fiction amongst them.

What are your predictions for the future of animation? For the future of Claymation?

Animation will always have its place in the cinemas, be it via CG or otherwise. Claymation lately has become a lot more niche. It seems to reside mostly in advertising, indie productions and YouTube videos. However, with the LEGO movie’s successful integration of stop-motion-esque movement, hopefully we’ll start to see some more Claymation and stop-motion projects coming into the mainstream. Claymation holds so many possibilities, so it’ll always be there in some capacity.

How did you get the idea for your film?

A lot of the inspiration for ‘Against the Sky’ came from my early experiences in high school. I was very shy and it took me a long time to find a solid group of friends. I also love sunsets, so there’s a bit of that imagery in there as well – it was actually the first concept picture I drew.

The film is also the sixth part in a series of animations called “Adventures of Lego Minecraft” which have found a decent chunk of popularity on YouTube. The inspiration for those came from wanting to do something with the Minecraft Lego sets. I cast a misplaced character in a story that gradually built up to an epic battle inspired by Lord of the Rings. After a couple years I’d initially wrapped it up in five parts, but when I showed them to my art teacher she said “Just do that”.

The main idea was to continue that story, and for people following the series, this film has a slightly different meaning. The yellow door actually holds quite a bit of sentimentality, and the main character is dealing with the loss of a friend. I experienced quite a bit of loss during the making of this film, so that might also have something to do with it.

In your opinion, what do you find is the most difficult stage in the film making process and why?

It’s difficult to pick one particular stage as being the hardest…

Getting started is probably the worst part, especially with something as daunting as a four-minute stop motion. Once you get into the real meat of day to day work, it’s easier to process, and you can ride the momentum. Although, when you’re going to bed early in the morning, and staying indoors to work on the animation all day and night, that can be a pretty hard slog too. Especially when you’ve got school work to stay on top of.

But with any film, the hardest part is probably that initial burst of energy to get the ball rolling and keep it rolling. Even after doing so much planning and preparation, it can be tough to muster, especially if you know what you’re about to put yourself through.

How confident were you that you might win BUFTA 2014?

I was happy with what I’d made and fairly sure I would win something, but I could never have predicted just how huge. I was scheduled to be in Hawaii at the same time the awards were on, but the organizers insisted I delay my flights for the ceremony. On the night, I got a few smaller awards, which was awesome, but to get the Overall Best Filmmaker award at the end was still a very big surprise, I certainly was not counting on it – I was more prepared to congratulate the person who did win it. I had watched the winning entries from previous years and was fully expecting a live-action drama or comedy film to take home the scholarship. In any case I’m glad I attended the night.

What advice would you give to students thinking of entering a film into BUFTA and what tips and tricks can you offer to assist them in creating a winning film?

Start as early as possible. The more time you have to incubate your ideas and refine the film, the better. Plan as much as you can too. It’s good to have a detailed blueprint to work from. If you can see some form of the film basically completed before you even set up a shot, it helps immensely, especially if you like to make up things on the fly like I do all the time.

To create a winning film, all I can really say is just make something that feels right to you and that will keep you going. If you can find something that you can pour your heart into, it will show whether you realize it or not.  It is in the nature of the creative process that you will probably doubt yourself or your film at some point, but you have to keep going. Everybody feels down at some point, the pros just hide it better by working through it.

Do you have a favourite memory of your BUFTA experience?  

There were some great moments – getting up and receiving awards is of course a highlight. But the biggest thing for me, even before getting into the awards night, was just hanging out with all the other filmmakers in the evening beforehand. I’ve always had trouble finding others who are into filmmaking – there is no subject for it at my school – and it was super easy to get along with so many people. We were cracking jokes, talking about filmmaking and having fun pretty much straight away! It’s hopefully a taste of what’s to come in the future.

What new opportunities has being crowned Winner of BUFTA 2014 given you so far?

I probably would never have been able to afford Bond University before these awards, so getting a full scholarship to attend is an incredible opportunity that I’m looking forward to throwing myself into – I just have to work out how to get there from Brisbane. I’ve already had my face pop up on the front page of a local newspaper, and I was featured on the state news for getting an OP 1 along with the BUFTA scholarship. Another good thing was that in the short time I was at the awards evening, I made a few very cool friends which I’ll hopefully catch up with sometime in the future.

Upon visiting the campus for the BUFTA Gala Ceremony, what were your initial thoughts of Bond University?

I came to the campus about an hour early with my older brother, so we had some time just to walk around and take it in on our own. The campus is huge – the arch and lake are particularly quite beautiful. It reminded us a lot of Naboo from the Star Wars prequels with its grandeur. The tour I went on a bit later with the Gala ceremony was absolutely jaw dropping once I got to see the equipment they had on hand for film students. I haven’t been that excited about something in a long while, and it just kept getting better! I definitely want to have a play with the equipment. There’s such a huge range of high-end equipment, including actual film cameras – I really want to have a go at using those.

What is your ultimate ambition?

I ultimately I want to make something, or maybe even multiple somethings, that I can be really proud of, and that I can watch on a big screen. At the very least, I’d like to make something that emotionally connects with people in a profound way, like other films and shows have for me. Whether that take the form of a film, a TV show, or even a video game – who knows? I still have to work that part out.

In one sentence, sum up your BUFTA experience.

An unreal, life-changing experience of hard work, triumph, and an open door to a future that I’m looking forward to that much more as a result.

Benjamin Griggs from Guildford Grammar School (WA) received the 2013 Best Overall Filmmaker Award for his film 'A Day in the Life of  Librarian'.

How did you hear about the BUFTA competition and what was your main reason for entering?

I first heard about BUFTA through the media department at my school. I’ve always had a passion for making short films and considering that, due to the course requirements, I was going to be making two of them anyway, there was very little reason to not enter the competition when the rewards that are offered are so large!

Your winning film is of a comedy genre, do you have a favourite genre and why?

I think now my favourite genre is definitely comedy. Creating a film is a joy in itself, but when you mix the whole process with comedy and laughter it’s even better. The final product makes everyone happy and you often end up with a bloopers reel, which is an added bonus.

Filming takes twice as long because half the time is spent laughing and trying to re-take shots, but that’s hardly an issue to complain about. Except maybe when certain individuals are waiting for you to hurry up and exit their library so they can go home…

How did you get the idea for your film?

“Well we had to make a documentary. And I was talking to my friend about how I wanted to make it about a small local area and I was giving him an example like “like for example making a documentary about the library”. And then we thought it was a funny idea to make a mockumentary about librarians.”

In your opinion, what do you find is the most difficult stage in the film making process and why?

Every aspect of making a film can be a challenge in itself, but in my experience, the most difficult element of the process happens just before a shoot. Organizing the cast and crew, ensuring ALL the equipment is ready and that there is a location available, all while hoping for the best conditions, can be a very stressful task.

How confident were you that you might win the BUFTA competition?

I’m not going to lie and pretend I wasn’t aware that I had created a pretty good video, but to that end, there were also a lot of other great videos in the competition. I was very hopeful about winning a category award, but never did I think I would be a potential candidate for the overall best filmmaker award. So that was shocking.

What is your advice to students thinking of entering a film into BUFTA and what tips and tricks can you offer to assist them in creating a winning film?

Never rush anything. If a shot isn’t working out the way you had intended, don’t give up and move on for the sake of making the cast and crew happy. Take a moment to work out what needs to be changed in order for that mediocre shot to become the perfect picture you had envisioned it would be. Films are art, and art can’t be rushed. I guess you can apply the saying “your team is as strong as the weakest member” to film, a film can only be as great as your worst shot, because every element really does count.

Share your memories of winning BUFTA and explain a little about what opportunity it has given you.

Ever wanted to be at the Oscars? The BUFTA event replicated a sense of that environment pretty well. Especially with an Academy Award©  winner as the night’s host. And who knows, it could be the first doorway for anyone to the actual Oscars.

Other than the providing me with ability to continue filmmaking, I can’t really describe the opportunities it has brought about, but I’m definitely excited to find out…

Upon visiting the campus for the BUFTA Gala Ceremony, what were your initial thoughts of Bond University?

“I wouldn’t mind studying here.”

And on top of that, it felt and operated differently to any other university I had visited. It’s not easy to describe, but it felt less like a school and more like the actual industry; where talent and skill was put directly into practice, rather than trying to be learnt from theory. It was an exciting place.

What is your ultimate ambition?

To make films long enough to be able to find my own style, and to make films good enough to be appreciated by wide audiences.

In one sentence, sum up your BUFTA experience.

If I hadn’t already set my sights on filmmaking before I attended BUFTA, I definitely had afterwards; it was an experience unlike any other.

Blake Borcich from Xavier College (VIC) received the 2012 Best Overall Filmmaker Award for his films, 'Resistance' and 'The Trouble with Alexander'.

How did you hear about the BUFTA competition and what was your main reason for entering?

I was lucky enough to be selected as a finalist in the 2011 BUFTA competition. Earlier that year I viewed some material of the 2010 competition that introduced me to the format of the Awards, which I found to be most impressive and an exciting experience. I also viewed some of the previous finalists and was captivated and inspired by the wonderful talent that these young filmmakers were putting into practice. I enjoyed the experience so much that I was determined to enter the 2012 competition. I initially heard of BUFTA through the 2010 educational pack that I received from my school.

How did you come up with the concept for your film ‘Resistance’ and what steps did you take to turn your concept into reality?

I decided that I wanted to test myself by creating a 10 minute film, with minimal actors, in one location. I wanted to refine my skill as a filmmaker in directing actors (esp. eliciting emotion) and exploring a confined space with my camera that holds the audience’s attention. I wanted it to be a period piece and I wanted an enigmatic story that would translate to screen, working on two levels. One – purely entertaining and moving the audience’s emotions. And two – a deeper level of meaning and understanding (achieved through subtext read on the initial level).

With these desired constraints, my story rapidly evolved into an emotional, meaningful message movie – a period piece with enough ambiguity to divide audience interpretation and to spark debate – which is to me, what cinema SHOULD do. I thought to bring the bigger, outside issues of war into a room with the victims – this is through the character of Gunter – and play with stereotypes and the concept of perception vs. reality, to provide my audience with an insight into Hitler and his regime in the 1940’s, and a message that they can relate to modern day society.

Much refinement was required to produce a final, water-tight blueprint to photograph. The finished script was sent to Germany and France where it was translated by fluent-speaking friends of mine to ensure the translation was accurate –key to the film’s reception by international audiences. Following this, months of work was poured into creating the set of the underground cellar. Much care was taken and great lengths were reached by my art department to design (and source materials to produce) the set, costumes, hair and make-up design and props. Casting proved to be a difficult process as I had to find fluent-speaking (German and French) actors. Using a free and open source, I eventually found the perfect ‘Gunter’, and two wonderful girls to play Josette and her Grandmother.

Resistance uses much pure cinema – that is, visual emotion from actors to develop the story. With such a reliance on nuances in emotion to provide the audience with character clues, rehearsal played a vital role in refining their performances to a very specific level.

The thing I found most rewarding from producing Resistance is something that has increased my love for and faith in this industry. The way that my cast and my crew, as individuals, committed themselves physically and mentally to work with one another at full capacity on my ‘student’ film, when they were receiving little to no monetary compensation, is so humbling and inspirational. Filmmaking is and always be difficult, on any level. But there ARE people out there – professional people (cast and crew) – who will do anything and everything to help bring your vision to life – no matter your age, budget or experience.

Your winning films ‘Resistance’ and ‘The Trouble with Alexander’ are very different genre’s, do you have a favourite genre?

I believe that the strongest asset of mine, that I’m fortunate to have as a result of my filmmaking endeavours over the past few years, is my understanding of different genres. Its key, in any filmmaker’s early years, to explore a wide range of genres and to learn the codes and conventions that set them aside from each other. From this experimentation, your own style and flavour will grow.

I think it’s important to be able to retain your own style whilst being able to produce high quality work in all genres throughout your career. You HAVE to be able to do that.

Needless to say, I adore the filmmaking process, regardless of the genre I’m working in.

In your opinion, what do you find is the most difficult stage in the film making process and why?

You make a film because you have a story to tell. The script IS the film. Production and post-production are two little processes that ‘simply’ transfer the words on the page to the screen. Yes there is room for inventiveness during photography, but your final *abandoned* script MUST be water-tight, with everything you want in your story, on the page…and it has to be GREAT. If you have a GOOD story, you have nothing but [what will be] a waste of time, money and resources. It HAS to be great…and great is hard.

It is a difficult process to shape the ideas in your head into an engaging and entertaining, REFINED story that’s ready to translate to screen. Most importantly, the script (your film) must have a distinctive personality. It must have heart. And that’s what needs to come from you, the writer. Your script bust be impassioned – the story that YOU want to tell – but it needs to appeal to and work for your target audience.

* Why I say abandoned is because “a movie [your script] is never finished, only abandoned” ~ George Lucas.

What is your favourite stage in the film making process and why?

I’m infatuated with everything about bringing an initial concept on paper, to the screen. Although principal photography is the shortest, most expensive, most stressful and highest pressure of stages, I think it’s the best. Whenever I call “Action”, something truly magical happens. Everything – the months of preparation and tedious processes hours, minutes and seconds leading up to this point of “Action” – falls into place. After “Cut”, there will be more work and other processes to ‘complete’ the shot. But the atmosphere – the buzz – of the film set at that moment when everyone is silent, all equipment and everyone’s eyes are pointing at the actors, is enchanting, thrilling and unparalleled. I can’t stand not being on a film set!

How confident were you that you might win the BUFTA competition?

In any film competition, judges are looking for originality and thought in your work. They don’t assess based on face value. THEY’RE the professionals who know the early signs of talent. Personally, I could see in the other entries the passion, creativity and consideration that went into producing them, and I thought that any one of them deserved to be rewarded based on the originality and thought behind them. I honestly never thought that I would win BUFTA.

What is your advice to students thinking of entering a film into BUFTA and what tips and tricks can you offer to assist them in creating a winning film?

It’s important to encourage young filmmakers to really milk their resources. There are many more ways to bringing your vision to life than you think. I was able to get an ACS accredited, award-winning cinematographer simply because he liked the way I worded my casting call on a free and open-source website. An AFI award winning actor signed on to my previous project because he loved my script (out of 2000 scripts he receives every few months). People ARE out there to help you. Collaboration is key, and everyone has something to contribute to your work. Just ensure you are passionate about your story and you put yourself out there demanding people come to you…they will!

Whilst an aesthetically pleasing image is essential nowadays to connect with audiences, it’s not all that hard to achieve and it should not be the focus of your time and energy. Once you have refined your script as best you can, it is crucial to rehearse and block through your shots, ensuring EVERY shot and every detail within the frame is well considered and is telling your audience something new they need to know.

Throughout each stage of the filmmaking process, always be thinking about your audience – how you’re entertaining them and how they may react to certain characters, certain situations, camera movement, lighting, locations etc. But most of all, ensure that you make impassioned work. Don’t make movies to win awards or impress people with your skill in moving your camera. Make films that speak to people and tell stories that YOU want to tell. Observe what others are producing, so you can produce yours uniquely. Test your script, test your film edit, and be open to suggestions – this is a collaborate medium. Listen to others, but don’t be swayed if it’s not what you believe is right for your work. It’s YOUR art. It’s YOUR expression. It’s YOUR contribution to cinema.

Share your memories of winning BUFTA and explain a little about what opportunity it has given you.

The format of BUFTA is unlike any other awards ceremony. After my 2011 experience, I was excited about just being invited to attend this year’s gala ceremony. None of us knew what to expect on the night – which is what made it so exciting. We were treated like royalty and all the finalists and our families should be thankful for the wonderful experience that was given to us.

All of this year’s finalists are to be congratulated for the extremely high standard of work that they produced, and further congratulations go to the award recipients. I was moved and so thankful for the judges awarding Resistance Best Director on the night. Directing is my passion, and amidst my Year 12 studies this year, I really pushed to extend myself in my craft, to produce a film whose story and meaning is important to me. This award, along with my category awards and scholarship hold immense power in their inspiration and encouragement of me as a person and as an artist.

Upon visiting the campus for the BUFTA Gala Ceremony, what were your initial thoughts of Bond University?

Bond University’s campus is remarkable. Anyone will tell you that it’s striking beauty makes it a very desirable place to live and learn. What I was particularly interested in of course was the standard of the actual course. What impressed me was the format of learning. The commitment of both the students and of the staff to practical work applications was promising. I recall one camera operator who was supposed to be on me at one point, but was instead filming a finalist on another table. He then appeared to get word (from his earpiece) that he was misinformed. He proceeded to curse.

The fact that the BUFTA ceremony is actually a unit of work for Bond students is indicative of the smart, contemporary, industry-tailored format of teaching and learning. I look forward to being nurtured by the staff and students at Bond University.

What is your ultimate ambition?

I have fallen in love with the moving image and I want to spend my life contributing MY stories to the world of cinema. I take great pleasure in bringing a film – a piece of art – from nothing to the screen, where people can escape for a moment and have their emotions transported and their views on the world enthused.

In one sentence, sum up your BUFTA experience.

BUFTA has been such an exciting and enjoyable experience with life changing rewards.

Josh Beattie from Queensland Academy for Creative Industries (QLD) received the 2010 Best Overall Filmmaker Award for his film 'To Claire; From Sonny'.

How did you hear about the BUFTA competition and what was your main reason for entering?

I came across BUFTA whilst looking for student film festivals that I might be able to enter To Claire; From Sonny in. I only found out about the competition the day before entries were due!

How did you come up with the concept for your film ‘To Claire; From Sonny’ and what steps did you take to turn your concept into reality?

TC;FS was my year 12 graduation film at the Queensland Academy for Creative Industries. I wanted to create a short that had a different meaning on the second (and third viewing). What started off as a complex, psychological and non-linear story (in the spirit of films like Eternal Sunshine and Memento), I realised that I had quite an effective story underneath. Bit by bit I stripped back this narrative into its simplest form and TC;FS was the result.

I was fortunate enough to attend a high school whose focus was the arts – with students majoring in multiple disciplines (art, music, film and theatre) so finding actors, a cinematographer, and musicians for the score was a very simple and organic process.

Production itself entailed three full days of shooting – zero-budget guerrilla filmmaking where we had to be resourceful and exploit the scenery that was available. The music score took about a week to put together (musicians were recorded one track at a time to build an orchestra) and editing took about four days.

In your opinion, what do you find is the most difficult stage in the film making process and why?

I find that the real challenge comes in the middle of pre-production and production – having an idea and realising that it’s not feasible to pull off with your budget as an amateur (which is often $0). If you write a fantastic script that features an explosion – how do you make that call? Compositing? Cheating the audience with sound? Or do you work around it and find a different way for the narrative to advance? Sometimes working to limitations can also be exciting and even better ideas can come out of it.

What is your favourite stage in the film making process and why?

I’ve always loved anything to do with post-production – editing, foley, sound, music, colouring etc. Being on set filming is the real ‘hard work’ of a production… but I feel that the creativity comes back when you’re collecting your footage and deciding how to mash it together as a work.

How confident were you that you might win the BUFTA competition?

Not at all! I didn’t know what to expect of the program as a whole and was very impressed with the variety of genres and stories that other candidates had submitted. I can imagine how tough it would have been to select a winner out of such a diverse pool of filmmakers.

What is your advice to students thinking of entering a film into BUFTA and what tips and tricks can you offer to assist them in creating a winning film?

My advice would be to ignore everything in that question. Don’t look to ‘win BUFTA’ or any festival for that matter. As soon as your ambition is to make a ‘great film’ – you’re out to please a panel, win over an audience. Often that can override your instincts.

Make something you can identify with; something ambitious, something outrageous! The BUFTA judges are looking for originality and not production value. I managed to win with a film that used one camera and a tripod. A previous year’s winner was a stick animation! In this contest, a thought-out story will triumph over a film with impressive dolly shots and fifty extras; don’t be intimidated if your school doesn’t have cameras the size of fridges, or if your friends aren’t actors. Just make a memorable, sincere, and unique movie.

Oh, and sound. Don’t dare neglect your sound! It’s half a film, after all. The most beautiful cinematography and performances will be irrelevant if you haven’t spent time on your audio. Student films (even at tertiary level) are always riddled with fuzz, random cuts in ambient sound, clipping dialogue, and rushed music (composers can hear a Garageband loop from a mile away). If you have interesting sound design, you’ll immediately stand out. If you’re not too confident when it comes to sound, make friends with someone who does. Never forget sound!

Share your memories of winning BUFTA and explain a little about what opportunity it has given you.

The BUFTA ceremony was a great event – being in a room full of people who share your ambition and enthusiasm for movies- and eating dinner with members from the community and faculty staff who were genuinely interested in young talent. It’s given me the chance to attend perhaps the best film school in the country… and to my surprise, its effects haven’t stopped at the enrolment office. The faculty staff have taken the time to get to know me, listen to what I have to say, and make sure the student body and the curriculum are compatible and running smoothly. I have already gotten to know (and started working on projects with) previous winner Julie Sam-Yue, and 2011 winner Matthew Thorne. I also look forward to being on the camera crew for this year’s BUFTA.

What were your initial thoughts of Bond University?

I write this from Bond’s library in my third week here, and I have been overwhelmed! The university is a small, close and friendly community- and I will be in the same class of 29 film students for the next two years! The people who are my classmates now are the same people with whom I’ll collaborate with on graduate Bond films, and projects way, way into the future. Many of my lecturers actually work in their fields while teaching – so I feel very assured that their knowledge is credible and up-to-date.

What is your ultimate ambition?

I would love to one day write and direct feature films. And at the risk of sounding predictable, I’d also like to compose music for films and videogames. And… if have time, make television commercials and music videos.

In one sentence, sum up your BUFTA experience.

I have come to realise that BUFTA itself is small film festival just for young people, made possible by young people… it’s a great experience and a taste of what the path to being a filmmaker is like; I would encourage everyone and everyone to give it a shot.

CATEGORY AWARDS

Best Animation | Memories of You by Angelina An from Huntingtower School (VIC)

Best Art Film | Somniator by Kokoda Cadzow-Smith from Trinity College (QLD)

Best Comedy | Golden Hour by Benjamin Rosenberg from Toowoomba Grammar School (QLD)

Best Documentary | Mitchell by Benjamin Rosenberg from Toowoomba Grammar School (QLD)

Best Drama | The Ways We Cook by Juno Shean from John Curtin College of the Arts (WA)

Best Experimental Film | The Interconnections of Technological Subjection by Kokoda Cadzow-Smith from Trinity College (QLD)

Best Music Video | HighAway FlyAway by Mark Zanosov from St Mark's Anglican Community School (WA)

Best Sports Film | Purpose by Jan McGinley from Westminster School (SA)

CRAFT AWARDS

Best Directing | Benjamin Rosenberg from Toowoomba Grammar School (QLD) for Golden Hour

Best Screenwriting | Conner Nicholls from Suncoast Christian College (QLD) for Welcome to Teen High

Best Cinematography | Charl Petzer from Genesis Christian College (QLD) for Brothers in Arms

Best Editing | Kokoda Cadzow-Smith from Trinity College (QLD) for Somniator

Best Sound Design | Greta Lynch from Iona Presentation College (WA) for AInxiety

EXCELLENCE AWARDS

Best School | Huntingtower School (VIC)

Best Gold Coast Filmmaker | Benjamin Faulkner from Emmanuel College (QLD) for The Plight of Cecile Smilie

Jury Prize | Kokoda Cadzow-Smith from Trinity College (QLD) for The Interconnections of Technological Subjection & Somniator

Dean’s Choice Award | Spencer Au from Huntingtower School (VIC) for Wings of Grief

People's Choice Award | Morgan Cross from the International School of Kuala Lumpur (Malaysia) for Demen

BEST OVERALL FILMMAKER

Benjamin Rosenberg received the 2023 Best Overall Filmmaker Award for his films 'Golden Hour' and 'Mitchell', and was awarded a full scholarship to study a Bachelor of Film and Television at Bond University.

CATEGORY AWARDS

Best Animation | Coalescent by Erik Piefke from Huntingtower School (VIC)

Best Art Film | Scars by Indiana Allen from Iona Presentation College (WA)

Best Comedy | The Derritree Sisters by Kokoda Cadzow-Smith from Trinity College (QLD)

Best Documentary | A Swell State of Mind by Jamali van Heerden from Emmanuel College (QLD)

Best Drama | The Stella Show by Ruby McQuire from St Mary’s Anglican Girls’ School (WA)

Best Experimental Film | [Individuation] by Chloe Greenhill from Highfields State Secondary (QLD)

Best Music Video | Pineapple on Pizza by Laila Salloum from Huntingtower School (VIC)

Best Sports Film | Behind Moto by Reeve Harper from Guildford Grammar School (WA)

CRAFT AWARDS

Best Directing | Indiana Allen from Iona Presentation College (WA) for Scars

Best Screenwriting | Kokoda Cadzow-Smith from Trinity College (QLD) for The Derritree Sisters

Best Cinematography | Finley Bishop from Kardinia International College (VIC) for Suffocate

Best Editing | Flynn Walmsley from Centenary Heights State High School (QLD) for DREAM ON!

Best Sound Design | Peri Turner from Marymount College (QLD) for Hikkomori

EXCELLENCE AWARDS

Best School | Emmanuel College (QLD)

Best Gold Coast Filmmaker | Jamali van Heerden from Emmanuel College (QLD) for A Swell State of Mind

Jury Prize | Jamali van Heerden from Emmanuel College (QLD) for A Swell State of Mind

Dean’s Choice Award | Mason Hannam from Cairns State High School (QLD) for Demonic DayDream

People's Choice Award | Mitchell Glaser from Emmanuel College (QLD) for The Passion Project

BEST OVERALL FILMMAKER

Indiana Allen from Iona Presentation College (WA) received the 2022 Best Overall Filmmaker Award for her film ‘Scars’, and was awarded a full scholarship to study a Bachelor of Film and Television at Bond University.

CATEGORY AWARDS

Best Animation | Veronica by Ryan Thwaite of Palm Beach Currumbin High School (QLD)

Best Art Film | She Is Going To Be Late by Ethan Lewin of St Josephs College Gregory Terrace (QLD)

Best Comedy | Stuck With Myself by Sarah Larkey of Monte Sant’ Angelo Mercy College (NSW)

Best Documentary | For the Love of Sheep by Jasmin Naish of Iona Presentation College (WA)

Best Drama | The Tea Sommelier by Lily Boisvert of Mercedes College (WA)

Best Experimental Film | Tachypsychia by Owen Douglas of Anglican Church Grammar School (QLD)

Best Music Video | Contracts in Candlelight by Emily Ross of Tamborine Mountain State High School (QLD)

CRAFT AWARDS

Best Directing | Ryan Thwaite of Palm Beach Currumbin High School (QLD) for Veronica

Best Screenwriting | Lily Boisvert of Mercedes College (WA) for The Tea Sommelier

Best Cinematography | Jake Frezer of Lindisfarne Anglican Grammar School (WA) for To Be or Not To Be

Best Editing | Indiana Harvey of Guildford Grammar School (WA) for Companion

Best Sound Design | Ryan Thwaite of Palm Beach Currumbin High School (QLD) for Veronica

EXCELLENCE AWARDS

Best School | Tamborine Mountain State High School (QLD)

Best Gold Coast Filmmaker | Ryan Thwaite of Palm Beach Currumbin High School (QLD) for Veronica

Jury Prize | Jasmin Naish of Iona Presentation College (WA) for For the Love of Sheep

Dean’s Choice Award | Sarah Larkey of Monte Sant’ Angelo Mercy College (NSW) for Stuck With Myself

People's Choice Award | 

BEST OVERALL FILMMAKER

Ryan Thwaite of Palm Beach Currumbin High School (QLD) received the Best Overall Filmmaker Award for his film ‘Veronica’, and was awarded a full scholarship to study a Bachelor of Film and Television at Bond University.

CATEGORY AWARDS

Best Animation | Mark & Fish by Emma Russell of Huntingtower School (VIC)

Best Comedy | I Need Space by Catherine Shepherd of St Mary's Anglican Girls' School (WA)

Best Documentary | Sallie Jones: An Australian Farmer by Henry Johnston of Scotch College (VIC)

Best Drama | Mates by Austin Macfarlane of Anglican Church Grammar School (QLD)

Best Experimental Film | Voir Le Voir by Suzanna Steele of Santa Sabina College (NSW)

Best Music Video | Matilda by Jemima Patch-Taylor of St Rita's College (QLD)

CRAFT AWARDS

Best Directing | Henry Johnston of Scotch College (VIC) for Sallie Jones: An Australian Farmer

Best Screenwriting | Catherine Shepherd of St Mary's Anglican Girls' School (WA) for I Need Space

Best Cinematography | Suzanna Steele of Santa Sabina College (NSW) for Voir Le Voir

Best Editing | Ben Ginbey of Mandurah Catholic College (WA) for AViVA - BLACKOUT

Best Sound Design | Suzanna Steele of Santa Sabina College (NSW) for Voir Le Voir

EXCELLENCE AWARDS

Best School | Mansfield State High School (QLD)

Best Gold Coast Filmmaker | Carina Serong of Marymount College (QLD) for Mi Chiamo Maria, Mi Chiamo Carina

Jury Prize | Catherine Shepherd of St Mary's Anglican Girls' School (WA) for I Need Space

Dean’s Choice Award | Henry Johnston of Scotch College (VIC) for Sallie Jones: An Australian Farmer

People's Choice Award | 

BEST OVERALL FILMMAKER

Austin Macfarlane of Anglican Church Grammar School (QLD) received the Best Overall Filmmaker Award for his films Mates, and White Knuckles, and was awarded a full scholarship to study a Bachelor of Film and Television at Bond University.

CATEGORY AWARDS

Best Animation | Kaleidoscope by Natalie Yeung of Huntingtower School (VIC)

Best Comedy | The Sock Dimension by Austin Macfarlane of Anglican Church Grammar School (QLD)

Best Documentary | Born and Bred by Michaela Sutherland of Hillcrest Christian College (QLD)

Best Drama | Yellow by Jock Plastow of Glenunga International High School (SA)

Best Experimental Film | Image en Mouvement by Jamisyn Chapman of Mary MacKillop College (QLD)

Best Music Video | Throw The Dog a Bone by Byron D'Arcy of All Sants Anglican School (QLD)

CRAFT AWARDS

Best Directing | Charlie Falconer of Grace Lutheran College (QLD) for Cue Overreaction

Best Screenwriting | Anna Kubat of Queensland Academy of Creative Industries (QLD) for Inheritance

Best Cinematography | Jock Plastow of Glenunga International High School (SA) for Yellow

Best Editing | Oakley Hands of Bunbury Cathedral Grammar School (WA) for Run Free

Best Sound Design | Nathan Donly of Hillcrest Christian College (QLD) for Paradox

EXCELLENCE AWARDS

Best School | Hillcrest Christian College (QLD)

Best Gold Coast Filmmaker | Byron D'Arcy of All Saints Anglican School (QLD) for Throw The Dog a Bone

Jury Prize | Anna Kubat of Queensland Academy of Creative Industries (QLD) for Inheritance

Dean’s Choice Award | Jamisyn Chapman of Mary MacKillop College (QLD) for Not Worth Hiding

People's Choice Award | Ruby Mcintosh of St Rita's College (QLD) for ANAMESIS

BEST OVERALL FILMMAKER

Charlie Falconer of Grace Lutheran College (QLD) received the Best Overall Filmmaker Award for her film Cue Overreaction, and was awarded a full scholarship to study a Bachelor of Film and Television at Bond University.

CATEGORY AWARDS

Best Animation | The Hole Family by Rory Dalitz of All Saints' College (WA)

Best Comedy | Constable Rebound by Uday Alexander of Darwin High School (NT)

Best Documentary | The Kombumerri People: Life Goes On by Finn Robinsen of Miami State High School (QLD)

Best Drama | Solitaria by Lachlan Macfarlane of Anglican Church Grammar School (QLD)

Best Experimental Film | SHATTER GLASS SITY or Reality and Dreamland: Coterminus by Nicholas Brack of St Andrew's Catholic College (QLD)

Best Music Video | Brussel Sprout by Danielle Growse of Huntingtower School (VIC)

CRAFT AWARDS

Best Directing | Harry Weston of Guildford Grammar School (WA) for Dulce et decorum est, pro patia mori

Best Screenwriting | Lily Drummond of Westminster School (SA) for Hollowlake

Best Cinematography | Oliver Marsden of Cairns State High School (QLD) for Clean

Best Editing | Jakob Wells of Mandurah Catholic College (WA) for Scootering

Best Sound Design | Harry Weston of Guildford Grammar School (WA) for Dulce et decorum est, pro patia mori

EXCELLENCE AWARDS

Best School | Tamborine Mountain State High School (QLD)

Best Gold Coast Filmmaker | Grace Criss of Tamborine Mountain State High School (QLD) for No Time - I Am Not Lefthanded

Jury Prize | Harry Weston of Guildford Grammar School (WA) for Dolce et decorum est, pro patia mori

Dean’s Choice Award | Lachlan Macfarlane of Anglican Church Grammar School (QLD) for Solitaria

People's Choice Award | Danielle Growse of Huntingtower School (VIC) for Brussel Sprout

BEST OVERALL FILMMAKER

Harry Weston of Guildford Grammar School (WA) received the Best Overall Filmmaker Award for his film Dolce et decorum est, pro patia mori, and was awarded a full scholarship to study a Bachelor of Film and Television at Bond University.

CATEGORY AWARDS

Best Comedy | Film Noir Parody by Tom Kerrigan of Bunbury Cathedral Grammar School (WA)

Best Documentary | Urban Exploration by Henry Thong of Glenunga International High School (SA)

Best Drama | Stain by Marcus Matthews of Swinburne Senior Secondary College (VIC)

Best Experimental Film | The Walk by Thomas Evans of Corinda State High School (QLD)

Best Music Video | Sleepless - Charles Murdoch Remix by Henry Cassell of Guildford Grammar School (WA)

CRAFT AWARDS

Best Directing | Mike Ridley of Canberra Grammar School (ACT) for A Moment's Grace and Alternate

Best Screenwriting | Mike Ridley of Canberra Grammar School (ACT) for A Moment's Grace

Best Cinematography | Thomas Evans of Corinda State High School (QLD) for Against the Sky

Best Editing | Nick Lacey of Mandurah Catholic College (WA) for Pursuit of Light

Best Sound Design | Thomas Evans of Corinda State High School (QLD) for Against the Sky

EXCELLENCE AWARDS

Best School | Huntingtower School (VIC)

Best Gold Coast Filmmaker | Freya McLeod of Robina State High School (QLD) for Technological Obliviation

Jury Prize | Thomas King of Ringwood Secondary College (VIC) for The Era of Change

Dean’s Choice Award | Nick Lacey of Mandurah Catholic College (WA) for Pursuit of Light

People's Choice Award | Henry Thong of Glenunga International High School (SA) for LEAP

BEST OVERALL FILMMAKER

Charlie Falconer of Grace Lutheran College (QLD) received the Best Overall Filmmaker Award for her film Cue Overreaction, and was awarded a full scholarship to study a Bachelor of Film and Television at Bond University.

CATEGORY AWARDS

Best Animation | Bad Guy by Lachlan Pendragon of Stretton State College (QLD)

Best Comedy | A Day in the Life of a Librarian by Benjamin Griggs of Guildford Grammar School (WA)

Best Documentary | Synaesthesia - the hidden sense by Katie Cookson of Huntingtower School (VIC)

Best Drama | Pieces by Olivia Altavilla of Our Lady of Mercy College Heidelberg (VIC)

Best Experimental Film | Surviving Ophelia by Alex Berry of Guildford Grammar School (WA)

Best Music Video | Monstre by James Carroll of Queensland Academy for Creative Industries (QLD)

CRAFT AWARDS

Best Directing | 

Best Screenwriting | 

Best Cinematography | 

Best Editing | 

Best Sound Design | 

EXCELLENCE AWARDS

Best School | 

Best Gold Coast Filmmaker | 

Jury Prize | 

Dean’s Choice Award | 

BEST OVERALL FILMMAKER

Benjamin Griggs of Guildford Grammar School (WA) received the Best Overall Filmmaker Award for his film A Day in the Life of a Librarian, and was awarded a full scholarship to study a Bachelor of Film and Television at Bond University.

CATEGORY AWARDS

Best Animation | George by Timothy Bahrij of All Saints Anglican School (QLD)

Best Comedy | The Trouble with Alexander by Blake Borcich of Xavier College (VIC)

Best Documentary | The Waubra Wind Farm by Jeremy Bonwick of Scotch College (VIC)

Best Drama | Resistance by Blake Borcich of Xavier College (VIC)

Best Experimental Film | Entropy: The Routine of Disarray by Janette Chiu of North Sydney Girls High School (NSW)

Best Music Video | MotionPoets Art - Runnin by Sam Vallins of Bellingen High School (NSW)

CRAFT AWARDS

Best Directing | Blake Borcich of Xavier College (VIC) for Resistance

Best Screenwriting | Liara Taylor of Toowoomba Christian College (QLD) for Ellie

Best Cinematography | Jeremy Bonwick of Scotch College (VIC) for The Waubra Wind Farm

Best Editing | James Carroll of Queensland Academy for Creative Industries (QLD) for Sin

Best Sound Design | Anabelle von Frankenberg of St Peters Lutheran College (QLD) for Silent World

EXCELLENCE AWARDS

Best School | 

Best Gold Coast Filmmaker | 

Jury Prize | 

Dean’s Choice Award | 

BEST OVERALL FILMMAKER

Blake Borcich of Xavier College (VIC) received the Best Overall Filmmaker Award for his films, Resistance and The Trouble with Alexander, and was awarded a full scholarship to study a Bachelor of Film and Television at Bond University.

CATEGORY AWARDS

Best Animation | Pluto by Sam Alderson of Elwood Secondary College (VIC)

Best Comedy | William by Sam-Lara Canin-Henkel of the Queensland Academy for Creative Industries (QLD)

Best Documentary | Why I Ride by Kian Esmaili of Guildford Grammar School (WA)

Best Drama | Tubby by Matthew Thorne of Pembroke School (SA)

Best Experimental Film | Line Work by Jasmine Kelsey of Coffs Harbour Senior College (NSW)

Best Music Video | Broken Thoughts by Matthew Thorne of Pembroke School (SA)

CRAFT AWARDS

Best Directing | Harrison Norris of Queensland Academy for Creative Industries (QLD) for Silent Night

Best Screenwriting | Harrison Norris of Queensland Academy for Creative Industries (QLD) for Silent Night

Best Cinematography | Blake Borcich of Xavier College (VIC) for Boston Tommy

Best Editing | Blake Borcich of Xavier College (VIC) for Boston Tommy

Best Sound Design | Harrison Norris of Queensland Academy for Creative Industries (QLD) for Silent Night

EXCELLENCE AWARDS

Best School | 

Best Gold Coast Filmmaker | 

Jury Prize | 

Dean’s Choice Award | 

BEST OVERALL FILMMAKER

Matthew Thorne of Pembroke School (SA) received the Best Overall Filmmaker Award for his films, Broken Thoughts and Tubby, and was awarded a full scholarship to study a Bachelor of Film and Television at Bond University.

CATEGORY AWARDS

Best Animation | L'Oubliette by Ahsleigh Paige-Faloon of Benowa State High School (QLD)

Best Comedy | The Twisted Tim Show by Tim Whybrow of Launceston College (TAS)

Best Documentary | Rally by Ashley Davies of Huntingtower School (VIC)

Best Drama | To Claire; From Sonny by Joshua Beattie of the Queensland Academy for Creative Industries (QLD)

Best Experimental Film | Red, Blue and Grey on Sky by Olivia Love of Ascham College (NSW)

Best Music Video | Hummingbird by Natasha Murray of St Francis Xavier College (ACT)

CRAFT AWARDS

Best Directing | Josie Baynes of Dickson College (ACT) for The House

Best Screenplay | Stephanie McDonald of Methodist Ladies College (VIC) for Moments

Best Cinematography | Oliver Marsden of Cairns State High School (QLD) for Clean

Best Editing | Josie Baynes of Dickson College (ACT) for The House

Best Sound Design | Josie Baynes of Dickson College (ACT) for The House

EXCELLENCE AWARDS

Best School | Huntingtower School (VIC)

Best Gold Coast Filmmaker | Josh Hourigan of Varsity College (QLD) for The Collection

Jury Prize | 

Encouragement Award | Tyrone Tamby-Rajah of Shenton College (WA) for Timed Fate

BEST OVERALL FILMMAKER

Joshua Beattie of Queensland Academy for Creative Industries (QLD) received the Best Overall Filmmaker Award for his film To Claire; From Sonny, and was awarded a full scholarship to study a Bachelor of Film and Television at Bond University.

BUFTA TOP 27

ANIMATION

Memories of You by Angelina An (VIC)

Wings of Grief by Spencer Au (VIC)

Welcome to Teen High by Conner Nicholls (QLD)

ART FILM

Somniator by Kokoda Cadzow-Smith (QLD)

Burnout by Jonathon Copson-Pacal (WA)

AInxiety by Greta Lynch (WA)

COMEDY

Captain Cardboard by Declan Fahie (WA)

Fancy a Formal? by Lily Podlich (QLD)

Golden Hour by Benjamin Rosenberg (QLD)

DOCUMENTARY

Into the Lights by Francis Lau (QLD)

Mitchell by Benjamin Rosenberg (QLD)

Riding Against Time by Maia Weatherstone (QLD)

DRAMA

Damnation by Elias Geffen (QLD)

12:42 by Oscar Richards (VIC)

The Ways We Cook by Juno Shean (WA)

EXPERIMENTAL

The Interconnections of Technological Subjection by Kokoda Cadzow-Smith (QLD)

The Plight of Cecile Smilie by Benjamin Faulkner (QLD)

Shower Thoughts by Kalan Mckinnon (QLD)

MUSIC VIDEO

Lose You by Abby Barnett (QLD)

Brothers in Arms by Charl Petzer (QLD)

HighAway FlyAway by Mark Zanosov (WA)

SPORTS FILM

Rise of the Tamborine Mountain Eagles by William Hastie (QLD)

Purpose by Jan McGinley (SA)

To be Bould by Hamish Mullaly (QLD)

INTERNATIONAL 

The Classroom by Alejandro Buitrago Celis (Bogota, Colombia)

Demen by Morgan Cross (Kuala Lumpur, Malaysia)

I Know You're Gone by Retaya Govender (Cape Town, South Africa)

BUFTA TOP 45

ANIMATION

Memories of You by Angelina An (VIC)

Wings of Grief by Spencer Au (VIC)

Welcome to Teen High by Conner Nicholls (QLD)

Grief by Amy Southee (QLD)

Growing Pains by Lachlan Stevens (QLD)

ART FILM

Somniator by Kokoda Cadzow-Smith (QLD)

Burnout by Jonathon Copson-Pacal (WA)

AInxiety by Greta Lynch (WA)

Love, Lisa by Amelie Scurfield (WA)

Human by Jake Sun (QLD)

COMEDY

Captain Cardboard by Declan Fahie (WA)

Shut the Gate by Imogen Linton (WA)

Fancy a Formal? by Lily Podlich (QLD)

Golden Hour by Benjamin Rosenberg (QLD)

Untitled-1 by Madison Weeldenburg (WA)

DOCUMENTARY

IVF Got Hope by Abigail Knight (QLD)

Into the Lights by Francis Lau (QLD)

Taking Me Nowhere by Imogen Loukas (QLD)

Mitchell by Benjamin Rosenberg (QLD)

Riding Against Time by Maia Weatherstone (QLD)

DRAMA

Damnation by Elias Geffen (QLD)

Sunk by Charl Petzer (QLD)

12:42 by Oscar Richards (VIC)

The Ways We Cook by Juno Shean (WA)

Dawn by Felix Smith (QLD)

EXPERIMENTAL

The Interconnections of Technological Subjection by Kokoda Cadzow-Smith (QLD)

Pressure by Zachary Delisser (QLD)

The Plight of Cecile Smilie by Benjamin Faulkner (QLD)

Babies Crying by Kat Hensel (QLD)

Shower Thoughts by Kalan Mckinnon (QLD)

MUSIC VIDEO

Lose You by Abby Barnett (QLD)

I Am by Olivia Edwards (QLD)

Brothers in Arms by Charl Petzer (QLD)

Lie by Charl Petzer (QLD)

HighAway FlyAway by Mark Zanosov (WA)

SPORTS FILM

Rise of the Tamborine Mountain Eagles by William Hastie (QLD)

Purpose by Jan McGinley (SA)

Churchie Rowing by Anthony Mclaughlin (QLD)

To be Bould by Hamish Mullaly (QLD)

SPC Vs MMC by Lily Podlich (QLD)

INTERNATIONAL 

The Classroom by Alejandro Buitrago Celis (Bogota, Colombia)

Demen by Morgan Cross (Kuala Lumpur, Malaysia)

Kabhi Konflict Kabhi Konnection by Rishit Goswami (Dubai, United Arab Emirates)

I Know You're Gone by Retaya Govender (Cape Town, South Africa)

Him by Khushi Rai (Karnataka, India)

BUFTA TOP 24

ANIMATION

Coalescent by Erik Piefke (VIC)

Hikkomori by Peri Turner (QLD)

One after the Other by Kokoda Cadzow-Smith (QLD)

ART FILM

Gone by Zahlia Jeffery (QLD)

Metamorphosis by Sophia McGregor (QLD)

Scars by Indiana Allen (WA)

COMEDY

Adverse Advertising by Daniel Cookson (VIC)

Dream On! by Flynn Walmsley (QLD)

The Derritree Sisters by Kokoda Cadzow-Smith (QLD)

DOCUMENTARY

A Swell State of Mind by Jamali van Heerden (QLD)

Beyond K-Pop by Johanna Baragry (WA)

Tommy Turbo – Born to Run by Jan McGinley (SA)

DRAMA

Lucas’ New Friend by Haruki Ryles (QLD)

Suffocate by Finley Bishop (VIC)

The Stella Show by Ruby McQuire (WA)

EXPERIMENTAL

[Individuation] by Chloe Greenhill (QLD)

Demonic DayDream by Mason Hannam (QLD)

Reaper by Aisha Clark (QLD)

MUSIC VIDEO

GuyJoshy – S.A.D.D (Official Music Video) by Haruki Ryles (QLD)

Pineapple on Pizza by Laila Salloum (VIC)

The Butterflies of Spring by Lily Puffett (QLD)

SPORTS FILM

Andrews at the Somerset Swimming Carnival by Sean Benton (QLD)

Beyond Moto by Reeve Harper (WA)

The Passion Project by Mitchell Glaser (QLD)

BUFTA TOP 40

ANIMATION

Coalescent by Erik Piefke (VIC)

Confluent Divergence by Rachel Cheung (QLD)

Hikkomori by Peri Turner (QLD)

Love Rank by Kayla Chan (QLD)

One after the Other by Kokoda Cadzow-Smith (QLD)

ART FILM

Falling by Oscar Li (VIC)

Gone by Zahlia Jeffery (QLD)

Metamorphsis by Sophia McGregor (QLD)

Scars by Indiana Allen (WA)

The Jump From Boyhood by Jade Wallwork (WA)

COMEDY

Adverse Advertising by Daniel Cookson (VIC)

Dream On! by Flynn Walmsley (QLD)

My Audio Journal Ep1 by Aliyah Gelmi (WA)

The Derritree Sisters by Kokoda Cadzow-Smith (QLD)

Toast by Hannah Solomon (QLD)

DOCUMENTARY

A Swell State of Mind by Jamali van Heerden (QLD)

Beyond K-Pop by Johanna Baragry (WA)

Dirk Hartog Island and the Impacts of Humans 2 by Maia Marwick (WA)

Mum’s Bolognese by Isabella Metsios (VIC)

Tommy Turbo – Born to Run by Jan McGinley (SA)

DRAMA

Ballpoint. by Lucy Howard (WA)

Lucas’ New Friend by Haruki Ryles (WLD)

Suffocate by Finley Bishop (VIC)

The Myth of Bloody Mary by Sean Benton (QLD)

The Stella Show by Ruby McQuire (WA)

EXPERIMENTAL

[Individuation] by Chloe Greenhill (QLD)

Demonic DayDream by Mason Hannam (QLD)

Perfectum by Lara Synman (VIC)

Reaper by Aisha Clark (QLD)

Ruthless by Ava Daniel (QLD)

MUSIC VIDEO

GuyJoshy – S.A.D.D (Official Music Video) by Haruki Ryles (QLD)

Legaleyes – UNTITLED 2 by Jan McGinley (SA)

Michelle Pfeiffer by Sam Clarke (QLD)

Pinapple on Pizza by Laila Salloum (VIC)

The Butterflies of Spring by Lily Puffett (QLD)

SPORTS FILM

Andrews at the Somerset Swimming Carnival by Sean Benton (QLD)

Beyond Moto reupload by Reeve Harper (WA)

Just Be by Mitchell Glaser (QLD)

Just Believe by Ben Faulkner (QLD)

The Passion Project by Mitchell Glaser (QLD)

BUFTA TOP 21

ANIMATION

ART FILM

COMEDY

DOCUMENTARY

DRAMA

EXPERIMENTAL

MUSIC VIDEO

BUFTA TOP 35

ANIMATION

ART FILM

COMEDY

DOCUMENTARY

DRAMA

EXPERIMENTAL

MUSIC VIDEO

BUFTA TOP 18

ANIMATION

Alfie by Shreya Arora (QLD)

Hide and Seek by Taleisha Lee (QLD)

Mark & Fish by Emma Russell (VIC)

COMEDY

Australia High by Oliver John (VIC)

Girls Just Wanna Have Sun by Madhumitha Iyer (VIC)

I Need Space by Catherine Shepherd (WA)

DOCUMENTARY

Mi Chiamo Maria, Mi Chiamo Carina by Carina Serong (QLD)

Sallie Jones: An Australian Farmer by Henry Johnston (VIC)

To Be a Volunteer by Bethany Alexs (VIC)

DRAMA

Mates by Austin Macfarlane (QLD)

Terra Nullius by Ebony Cunningham (WA)

Ultimatum by Curtis Charlton (QLD)

EXPERIMENTAL

Corruption by Helen Mullan (QLD)

The Call of the Wild by Jemima Patch-Taylor (QLD)

Voir Le Voir by Suzanna Steele (NSW)

MUSIC VIDEO

AViVA -BLACKOUT by Ben Ginbey (WA)

Matilda by Jemima Patch-Taylor (QLD)

White Knuckles by Austin Macfarlane (QLD)

BUFTA TOP 30

ANIMATION

Alfie by Shreya Arora (QLD)

Hide and Seek by Taleisha Lee (QLD)

Mark & Fish by Emma Russell (VIC)

Starlight by Sean Chen (VIC)

The Ladybug by Balazs Remias (QLD)

COMEDY

Australia High by Oliver John (VIC)

Girls Just Wanna Have Sun by Madhumitha Iyer (VIC)

I Need Space by Catherine Shepherd (WA)

Just You Wait by Sapphire Tsiamis (QLD)

Trust Fall by Austin Macfarlane (QLD)

DOCUMENTARY

10, 000 Drop, 10, 000 Stories by Finley Mason (WA)

Mi Chiamo Maria, Mi Chiamo Carina by Carina Serong (QLD)

Sallie Jones: An Australian Farmer by Henry Johnston (VIC)

Survivor by Artie Duggin (SA)

To Be a Volunteer by Bethany Alexs (VIC)

DRAMA

Animals by James Park (QLD)

Mates by Austin Macfarlane (QLD)

Spectacles For The Soul by Isabelle Irons (QLD)

Terra Nullius by Ebony Cunningham (WA)

Ultimatum by Curtis Charlton (QLD)

EXPERIMENTAL

Anti by Faigan Meadowcroft (QLD)

Corruption by Helen Mullan (QLD)

No Posting No Liking Just Living by Jayden Lee-Smith (QLD)

The Call of the Wild by Jemima Patch-Taylor (QLD)

Voir Le Voir by Suzanna Steele (NSW)

MUSIC VIDEO

AViVA -BLACKOUT by Ben Ginbey (WA)

Deer In A Swimming Pool by Jason Tyndall (QLD)

Matilda by Jemima Patch-Taylor (QLD)

Sleepy Couch – Lunar Vacation by Ani Parry (QLD)

White Knuckles by Austin Macfarlane (QLD)

BUFTA TOP 18

ANIMATION

Extraordinary Man by Daniel Tchang (QLD)

Leave Me Alone! by Gaween Totawattage (QLD)

Kaleidoscope by Natalie Yeung (VIC)

COMEDY

Inheritance by Anna Kubat (QLD)

Cue Overreaction by Charlie Falconer (QLD)

The Sock Dimension by Austin Macfarlane (QLD)

DOCUMENTARY

Manu by Charlie Falconer (QLD)

Born and Bred by Michaela Sutherland (QLD)

Run Free by Oakley Hands (WA)

DRAMA

Paradox by Nathan Doonly (QLD)

Yellow by Jock Plastow (SA)

Bailey by Maxwell Conaghan (NT)

EXPERIMENTAL

In Aether by Luca Cadioli (QLD)

Image en Mouvement by Jamisyn Chapman (QLD)

ANAMNESIS by Ruby Mcintosh (QLD)

MUSIC VIDEO

Eventually by Benjmain Sen (QLD)

Throw The Dog a Bone by Byron D’Arcy (QLD)

Not Worth Hiding by Jamisyn Chapman (QLD)

BUFTA TOP 30

ANIMATION

Extraordinary Man by Daniel Tchang (QLD)

Leave Me Alone! by Gaween Totawattage (QLD)

Frosty Fun by Jackson Preston (QLD)

Evolution by Jamie Ross (QLD)

Kaleidoscope by Natalie Yeung (VIC)

COMEDY

Inheritance by Anna Kubat (QLD)

Memory Palace by Austin Macfarlane (QLD)

The Sock Dimension by Austin Macfarlane (QLD)

Playtime by Ethan Sills (WA)

‘Love’ by Mackenzie Mazur (VIC)

DOCUMENTARY

MANU by Charlie Falconer (QLD)

THROUGH MY LENS by Jonathan Choong (WA)

My Room by Lara Franks (ACT)

Born and Bred by Michaela Sutherland (QLD)

Run Free by Oakley Hands (WA)

DRAMA

Cue Overreaction by Charlie Falconer (QLD)

Yellow by Jock Plastow (SA)

Bailey by Maxwell Conaghan (NT)

Paradox by Nathan Donly (QLD)

Shall We? by Austin Macfarlane (QLD)

EXPERIMENTAL

The Elements of Perception by Daniel Robertson (QLD)

Image en Mouvement by Jamisyn Chapman (QLD)

Galaxy Born by Lara Franks (ACT)

In Aether by Luca Cadioli (QLD)

ANAMNESIS by Ruby Mcintosh (QLD)

MUSIC VIDEO

Eventually by Benjmain Sen (QLD)

Throw The Dog a Bone by Byron D’Arcy (QLD)

The Beginning by Cameron Maher (QLD)

Superficial by Georgia Kelly (QLD)

Not Worth Hiding by Jamisyn Chapman (QLD)

BUFTA TOP 18

ANIMATION

In the Dark by Stefanie Giagoudakis (VIC)

Music Matters by Lauren Rawlings (SA)

The Hole Family by Rory Dalitz (WA)

COMEDY

Kindergangster by Stefan Sakellaridis (VIC)

Constable Rebound by Uday Alexander (NT)

Unlucky in Love by Jack Connell (WA)

DOCUMENTARY

Home Grown by Lily Drummond (SA)

Scootering by Jakob Wells (WA)

The Kombumerri People: Life Goes On by Finn Robinsen (QLD)

DRAMA

Dulce et decorum est, pro patria mori by Harry Weston (WA)

Hollowlake by Lily Drummond (SA)

Solitaria by Lachlan Macfarlane (QLD)

EXPERIMENTAL

Abstract Evolution by Rachel Wilson (WA)

Clean by Oliver Marsden (QLD)

SHATTER GLASS SITY or Reality and Dreamland: Coterminous by Nicholas Brack (QLD)

MUSIC VIDEO

Gaia – 727 by Will Roberts (NT)

Brussel Sprout by Danielle Growse (VIC)

No Time – I Am Not Lefthanded by Grace Criss (QLD)

BUFTA TOP 30

ANIMATION

Child’s Play by Julian Anderson (VIC)

In the Dark by Stefanie Giagoudakis (VIC)

Music Matters by Lauren Rawlings (SA)

School, but with a Ghoul by Rory Dalitz (WA)

The Hole Family by Rory Dalitz (WA)

COMEDY

Constable Rebound by Uday Alexander (NT)

Kindergangster by Stefan Sakellaridis (VIC)

The not so superhero by Lachy McNeary (VIC)

Unlucky in Love by Jack Connell (WA)

DOCUMENTARY

A Superhero’s Journey by Shelby Baston (QLD)

Am I Okay? by Cassandra Bentley (ACT)

Home Grown by Lily Drummond (SA)

Scootering by Jakob Wells (WA)

The Kombumerri People: Life Goes On by Finn Robinsen (QLD)

DRAMA

Backseat Bully by Ava van Zijl (QLD)

Barrier by Francis Sikalas (QLD)

Dulce et decorum est, pro patria mori by Harry Weston (WA)

Hollowlake by Lily Drummond (SA)

Solitaria by Lachlan Macfarlane (QLD)

EXPERIMENTAL

Abstract Evolution by Rachel Wilson (WA)

Clean by Oliver Marsden (QLD)

Fluidity by Jessica Miguel (QLD)

SHATTER GLASS SITY or Reality and Dreamland: Coterminous by Nicholas Brack (QLD)

MUSIC VIDEO

Brussel Sprout by Danielle Growse (VIC)

Fantaisie Impromptu Op. 66 by Sangeeth Vadasseri (VIC)

Gaia – 727 by Will Roberts (NT)

No Time – I Am Not Lefthanded by Grace Criss (QLD)

Shades of Grey – Sound City Lights by Grace Criss (QLD)

BUFTA TOP 18

ANIMATION

Gourmet Grief by Rory Dalitz (WA)

Journey by Radheya Jegatheva (WA)

iCentury by Barak Chen (VIC)

COMEDY

The Adventures of Mr Muscular & Sidekick Boy by Oliver Marsden (QLD)

NOT QUITE RIGHT by Willem Kingma (VIC)

Behind the Sandwich by Lee Sugars (QLD)

DOCUMENTARY

An Australian Farmer's Story by Jonno Kelly (VIC)

Retard by Kate Burke (QLD)

Cycle by Eliza Perkins (WA)

DRAMA

Pressure by Tully Hemsley (NT)

Destination by Sally Zhang (QLD)

QUIET by Ben Head (VIC)

EXPERIMENTAL

Leech by Bailey Gillam (WA)

Synthesis by Molly Evans (QLD)

sweven by Henry Friend (QLD)

MUSIC VIDEO

We'll Light The Way - Lyonn by Grace Criss (QLD)

Knockers by Ryan Duncan (QLD)

Suicide - Tiny Giants by Willem Kingma (VIC)

BUFTA TOP 30

ANIMATION

Gourmet Grief by Rory Dalitz (WA)

Journey by Radheya Jegatheva (WA)

Puddle by Narissa Amies (QLD)

iCentury by Barak Chen (VIC)

The Forest Fire by Ryan Turner (QLD)

COMEDY

The Adventures of Mr Muscular & Sidekick Boy by Oliver Marsden (QLD)

Sad Shark by Lotte Sweeney (SA)

TATTOO: The Life and Times of a Temporary Tattoo Artist by Daniel Nieborski (VIC)

NOT QUITE RIGHT by Willem Kingma (VIC)

Behind the Sandwich by Lee Sugars (QLD)

DOCUMENTARY

Street Art: Adelaide by Lotte Sweeney (SA)

An Australian Farmer's Story by Jonno Kelly (VIC)

A Road Less Travelled by India Atkinson (WA)

Retard by Kate Burke (QLD)

Cycle by Eliza Perkins (WA)

DRAMA

Pressure by Tully Hemsley (NT)

Scorpius by Sam Zagame (VIC)

The Antivirus by Jamie Carter (QLD)

Destination by Sally Zhang (QLD)

QUIET by Ben Head (VIC)

EXPERIMENTAL

Caochan by Oliver Marsden (QLD)

The Mechanics of Human Nature by Natalie Arthy (QLD)

Leech by Bailey Gillam (WA)

Synthesis by Molly Evans (QLD)

sweven by Henry Friend (QLD)

MUSIC VIDEO

OUR LITTLE WHILE by Hugo Nobay (QLD)

We'll Light The Way - Lyonn by Grace Criss (QLD)

Knockers by Ryan Duncan (QLD)

Suicide - Tiny Giants by Willem Kingma (VIC)

Wait For Me by Jenny Nguyen (QLD)