A New Millennium, A Maturing Voice: Indigenous Film in the 2000s

 A New Millennium, A Maturing Voice: Indigenous Film in the 2000s

The dawn of the new millennium brought with it a palpable sense of both continuity and change for Indigenous Australian film and media. The groundwork laid in previous decades, with the establishment of Indigenous-controlled media organizations and the emergence of a strong cohort of Indigenous filmmakers, began to bear fruit in a more sustained and diverse output. The period from 2000 to 2009 saw a consolidation of Indigenous storytelling, with filmmakers confidently exploring a wider range of genres, themes, and styles, while also continuing to grapple with the ongoing legacies of colonialism, dispossession, and systemic racism. This chapter examines the key trends and significant works of this era, celebrating the growing maturity of Indigenous voices while remaining critically aware of the persistent challenges and complexities of representation.

The year 2000 saw the release of Buried Country, a documentary based on Clinton Walker's book of the same name. While directed by a non-Indigenous filmmaker, Andy Nehl, the film is notable for its exploration of the deep and often overlooked connections between country music and Aboriginal communities. By tracing the history of Indigenous musicians and their relationship to this genre, Buried Country offered a unique perspective on cultural expression, resilience, and the ways in which music can serve as a powerful tool for storytelling and resistance. The availability of an educational study guide further highlights the film's potential to foster greater understanding and dialogue.

Darlene Johnson's 2000 documentary Stolen Generations delivered a powerful and unflinching account of one of the most shameful chapters in Australian history. By centering the stories of survivors, the film exposed the devastating impact of the policy of forcibly removing children from Indigenous families. Johnson's film is a crucial work of historical witness, documenting the trauma, loss, and enduring pain experienced by the Stolen Generations and their communities. The film serves as a stark reminder of the ongoing need for truth-telling, healing, and reconciliation in Australia.

The short films of this period demonstrated the growing confidence and versatility of Indigenous filmmakers. Daniel King's The Opportunists (2000) offered a comedic take on the complexities of the Indigenous art industry, while Catriona McKenzie's The Third Note (2000) explored themes of connection and understanding through the relationship between two women. Sally Riley's Confessions of a Headhunter (2000), based on a story by Archie Weller, delved into issues of cultural conflict and resistance in urban Indigenous communities. McKenzie's Road (2000) used the setting of Sydney to explore the alienation and racism experienced by an Indigenous man navigating the city. King's Mirror Images (2000) tackled the difficult subject of domestic violence within Indigenous families, aiming to raise awareness and promote dialogue.

Rachel Perkins's 2001 feature film One Night the Moon is a haunting and powerful drama set in the 1930s. The film explores the search for a missing child and the deep divisions within a community grappling with racial prejudice. Kelton Pell's nuanced performance as the Aboriginal tracker, Albert, is a highlight, conveying both strength and vulnerability. One Night the Moon uses its historical setting to reflect on enduring themes of land, identity, and the destructive legacy of colonialism.

Other feature films of this year offered diverse perspectives on Indigenous experiences. Mojgan Khadem's Serenades (2001), set in the 1890s, explored themes of identity, forced marriage, and cultural difference through the story of a woman with an Indigenous mother and Afghan cameleer father. Stephen Johnson's Yolngu Boy (2001), aimed at a younger audience, follows the journey of three Yolngu teenagers, using their story to highlight the challenges of navigating both traditional culture and contemporary society.

Paul Goldman's 2002 film Australian Rules, adapted from the novel Deadly, Unna? by Phillip Gwynne, examined racial relationships in rural South Australia through the lens of Australian Rules football. While directed by a non-Indigenous filmmaker, the film's focus on the experiences of young men in a racially charged environment sparked important conversations about identity, belonging, and the role of sport in Australian culture.

Ivan Sen's 2002 feature film Beneath Clouds is a landmark work of Indigenous cinema. Sen's distinctive directorial voice and his use of Indigenous narrative devices create a powerful and moving story about two young people from different backgrounds who find an unlikely connection. David Stratton described it as, "a film of spare beauty and controlled emotion", and cast light on the raw talent of its director. The film's exploration of themes of identity, alienation, and the search for connection resonated deeply with audiences and critics alike. The NSW Education Board's study guide for the film indicates its significance in educational contexts, highlighting its capacity to foster critical discussion about Indigenous identity and representation.

The short film Black Talk (2002), directed by Wayne Blair, used Indigenous language and spiritual themes to tell a story of family fragmentation and the challenges of maintaining cultural connection in urban settings. Leah Purcell and Brendan Fletcher's documentary Black Chicks Talking (2002), adapted from a play, offered a powerful and diverse collection of interviews with Indigenous women, sharing their experiences, perspectives, and aspirations. These films, along with Steve McGregor's Cold Turkey (2002) and Cole Beck's Flat (2002), showcased the breadth of Indigenous storytelling in short form, exploring a range of genres and themes with creativity and insight.

Darlene Johnson's 2002 documentary Gulpilil: One Red Blood paid tribute to the extraordinary career of Indigenous actor, dancer, and cultural icon David Gulpilil. The film provided a valuable insight into Gulpilil's artistic vision and his deep connection to Indigenous philosophy, emphasizing his profound cultural significance. David Vadiveloo's 2002 documentary JABIRU 0886: Trespass, while directed by a non-Indigenous filmmaker, documented the powerful story of the Mirarr people's non-violent resistance to uranium mining, highlighting issues of land rights, environmental justice, and Indigenous self-determination.

Warwick Thornton's 2002 short film Mimi offered a satirical critique of the commodification of Indigenous art, poking fun at white art collectors and raising questions about authenticity and cultural appropriation. Philip Noyce's 2002 feature film Rabbit-Proof Fence, while directed by a non-Indigenous filmmaker, brought the story of the Stolen Generations to a wider mainstream audience. The film's powerful depiction of the resilience and courage of three young Aboriginal girls who escape from a government settlement and embark on a long and arduous journey home sparked important national conversations about this traumatic period in Australian history.

Kimba Thompson's 2002 short film Shit Skin told a moving story of intergenerational connection and cultural reconnection, while CAAMA Productions' Snake Dreaming (2002), created by Indigenous children, used the medium of film to continue Indigenous storytelling traditions and address the Stolen Generations from a young person's perspective. Rolf de Heer's 2002 feature film The Tracker, while directed by a non-Indigenous filmmaker, featured a powerful performance by David Gulpilil and explored complex themes of race, justice, and the legacy of colonialism in the Australian outback. Samantha Saunders's 2002 short film Turn Around offered a refreshing take on romantic comedy with an all-Indigenous cast, showcasing a different side of Indigenous storytelling.

David Vadiveloo's 2003 documentary Beyond Sorry returned to the subject of the Stolen Generations, offering further powerful testimony about the devastating consequences of child removal. The 2003 television series Burnt Bridge, while directed by a non-Indigenous filmmaker, featured a strong Indigenous cast and explored the complexities of contemporary life in a small Australian town, including the tensions and conflicts between white and black communities.

The 2003 documentary Sisters, Pearls and Mission Girls, while directed by a non-Indigenous filmmaker, told the story of the Sisters of St John of God in the Kimberley region, highlighting the complex relationship between the nuns and the Aboriginal people they worked with, and raising questions about the role of missions in Australian history. Glen Stasiuk's short film The Forgotten (2003) examined the often-overlooked contributions of Aboriginal and Torres Strait Islander soldiers in the armed forces, exploring themes of patriotism, sacrifice, and the prejudice they faced. Danielle Maclean's short feature Queen of Hearts (2003) offered a lyrical exploration of Indigenous relationships to place, inviting viewers to see the land through Indigenous eyes.

The year 2004 saw the ABC's Messagestick program pay tribute to the life and work of Bob Maza, a significant figure in Indigenous theatre and activism. Anita Heiss's short film Checkerboard Love (2004) offered a humorous and insightful look at interracial relationships and cultural identity, while Kyas Sherriff's Feel My Absence (2004) explored the subtle ways in which strangers can impact our lives. Brendan Fletcher's documentary Kalkadoon Man (2004) followed musician William Barton on a journey to create a didgeridoo using traditional methods, providing a deeper understanding of the cultural significance of this iconic instrument.

Destiny Deacon's short film Over d-fence (2004) offered a satirical parody of the Australian television drama Neighbours, using humor and absurdity to comment on issues of alienation and displacement. Cole Beck's short feature Plains Empty (2004) told a haunting story set in a remote mining camp, exploring themes of isolation, loss, and the enduring presence of the past. Dean Francis's short film Too Little Justice (2004) addressed the issue of systemic racism and police brutality, drawing inspiration from the events surrounding the Redfern Riots in Sydney.

Wayne Blair's 2005 short film The Djarn Djarns offered an inspiring comedy-drama about a group of young Indigenous boys who use dance to strengthen their cultural identity and cope with grief. Warwick Thornton's short film Green Bush (2005), based on his own experiences as a radio DJ, celebrated the power of music and community radio to connect Indigenous people in remote areas and in prison. Rima Tamou's short film Sa Black Thing (2005) explored the complexities of romantic relationships within Indigenous communities, examining the role of cultural values and socio-economic factors. Ivan Sen's documentary Shifting Shelter 3 (2005) revisited four Indigenous teenagers over a period of ten years, offering a powerful and moving portrait of their lives and the challenges they face transitioning into adulthood.

In 2006, the ABC's Messagestick program celebrated 50 years of Indigenous television, highlighting the contributions of Indigenous broadcasters and performers. Ivan Sen's documentary Aunty Connie (2006) told the inspiring story of Connie McDonald, a woman who overcame significant challenges to find her identity and place in the world. The television film Call Me Mum (2006) explored the ongoing impact of the Stolen Generations through the story of a Torres Strait Islander man reunited with his birth mother.

The documentary/educational resource Ceremony – The Djungguwan of Northeast Arnhem Land (2006) provided a valuable record of Yolngu cultural practices, emphasizing the importance of ceremony in preserving and transmitting Indigenous knowledge. Kelrick Martin's documentary Island Fettlers (2006) told the story of Torres Strait Islander men who worked on the railways in the Pilbara region, highlighting their contributions and the unique community they created. Melanie Hogan's documentary Jindabyne Kanyini (2006) followed Bob Randall, an Indigenous man from Uluru, as he shared his story and his insights into Aboriginal culture and the impact of colonization.

Michael Longbottom's documentary La Perouse Panthers (2006) celebrated the history and community spirit of an Indigenous football club in Sydney, while Steven McGregor's documentary My Brother Vinnie (2006) offered a moving and personal portrait of two brothers and their bond. Mark Anderson's documentary Stone Country (2006) provided a stark look at the realities of life in a remote Aboriginal community, highlighting issues of poverty, health, and access to services. Allan Collins's documentary Sunset to Sunrise (2006) captured an intimate campfire conversation with an Indigenous elder, Max Stuart, as he shared his wisdom and reflections on culture, history, and contemporary challenges.

Rolf de Heer's 2006 film "Ten Canoes," while lauded as a groundbreaking work for its commitment to Indigenous language and culture, warrants a more critical examination beyond celebratory pronouncements. While its status as the first feature-length film entirely in Ganalbingu and its all-Indigenous cast from the Arafura Swamp region are undeniably significant in challenging the historical linguistic and representational erasure in Australian cinema, the film's success should not overshadow potential limitations in its portrayal. The collaborative nature of the project with the Ramingining community is often highlighted as ensuring authenticity; however, the ultimate directorial control still rested with a non-Indigenous filmmaker. This raises questions about the extent to which the narrative and visual choices truly reflect an unmediated Indigenous perspective, or if they are still framed, however respectfully, through a non-Indigenous lens for a predominantly non-Indigenous audience.

Furthermore, while the film undeniably offers a glimpse into Yolngu culture and traditions, its narrative structure, which intertwines two time periods through storytelling, could be interpreted as potentially exoticizing or romanticizing Indigenous life for Western consumption. The use of black and white for the "tribal time" and color for "mythical time," while aesthetically distinct, risks reinforcing a temporal dichotomy that essentializes Indigenous history as static and separate from a dynamic present. The film's aim to "humanize" Indigenous peoples is a commendable goal, yet the very need for such an aim underscores the historical dehumanization perpetuated by colonial narratives. Therefore, while "Ten Canoes" marks a crucial step in centring Indigenous voices and languages, a critical analysis must consider the power dynamics inherent in cross-cultural filmmaking and the potential for even well-intentioned projects to inadvertently perpetuate certain representational frameworks. As academic Bruce Isaacs noted, Ten Canoes is important because of "its commitment to place, to history, and to the power of traditional storytelling".

The documentary Why Me? – Stories from the Stolen Generations (2006) offered further powerful testimony about the experiences of stolen children, emphasizing the ongoing work of Link-Up, an organization dedicated to reuniting members of the Stolen Generations with their families.

The television program Double Trouble (2007) offered a lighthearted and entertaining look at the lives of young people in Alice Springs, showcasing Indigenous humor and cultural exchange. Ivan Sen's documentary A Sister's Love (2007) followed Rhoda Roberts as she revisited the unsolved murder of her twin sister, offering a powerful and personal exploration of grief, loss, and the search for justice. The documentary Aboriginal Rules (2007) provided a behind-the-scenes look at Aboriginal football in Central Australia, highlighting its importance to community life and cultural identity.

The period from 2000 to 2009 was a time of significant growth and achievement for Indigenous Australian film and media. Indigenous filmmakers continued to produce a diverse range of works that challenged stereotypes, explored complex themes, and celebrated the richness and resilience of Indigenous cultures. While collaborations with non-Indigenous filmmakers persisted, the increasing number of Indigenous-directed films across genres demonstrated a growing self-determination and artistic maturity. The films of this era contributed to a broader national conversation about history, identity, and reconciliation, and laid the groundwork for the continued success of Indigenous filmmaking in the years to come.

The first decade of the 21st century in Australian film and media witnessed a consolidation and expansion of Indigenous storytelling, marked by a confident exploration of diverse genres and thematic concerns. A key feature of this period is the persistent engagement with the legacies of colonialism, dispossession, and systemic racism, evident in works such as Darlene Johnson's Stolen Generations (2000) and Rachel Perkins's One Night the Moon (2001). These films employ realist codes and conventions to confront audiences with the historical and ongoing trauma experienced by Indigenous communities, challenging dominant narratives and demanding recognition of past injustices.

However, the decade also saw a diversification of Indigenous representation beyond victimhood narratives. Films like Ivan Sen's Beneath Clouds (2002) utilize tropes of the road movie and social realism to explore themes of identity, alienation, and intercultural connection in contemporary Australia, showcasing the complexities and nuances of Indigenous experiences. Comedic forms are also evident, as seen in Daniel King's The Opportunists (2000), signaling a willingness to engage with a broader range of representational strategies.

The documentary form continued to be a significant mode of Indigenous expression, with films such as Gulpilil: One Red Blood (2002) celebrating the contributions of key Indigenous figures and asserting cultural pride. Rolf de Heer's Ten Canoes (2006) represents a landmark achievement, employing innovative narrative structures and drawing on traditional storytelling conventions to explore Indigenous history and cultural practices, and is important because of "its commitment to place, to history, and to the power of traditional storytelling" (Isaacs).

Across the period, a discernible trend is the increasing control of Indigenous filmmakers over their own narratives, allowing for a more authentic and self-determined representation of Indigenous lives and cultures. This is reflected in the growth of Indigenous-led productions and the emergence of a new generation of Indigenous filmmakers who confidently navigate a range of genres and styles. The films of the 2000s contribute to a broader national conversation about history, identity, and reconciliation, and lay the groundwork for the continued evolution of Indigenous filmmaking as a vital force in Australian cinema.

From an Indigenous Australian critical perspective, while the 2000s undeniably represent a further strengthening and diversification of Indigenous voices in Australian film, a nuanced analysis must still consider the underlying power dynamics at play. The increased output and exploration of diverse genres are commendable, yet questions remain about the extent to which Indigenous narratives are truly centered and free from the gaze and influence of the dominant non-Indigenous industry. While films like Ivan Sen's Beneath Clouds and Warwick Thornton's early shorts showcase powerful Indigenous storytelling, even landmark works like Rolf de Heer's Ten Canoes, despite its linguistic achievements and collaboration with community, necessitate critical examination regarding directorial control and potential for exoticization for a non-Indigenous audience. The continued prevalence of non-Indigenous directors tackling Indigenous stories, even with good intentions, requires ongoing scrutiny about whose perspectives are ultimately shaping these narratives and whether they truly serve Indigenous self-determination in its fullest sense. Therefore, while celebrating the growing maturity and confidence of Indigenous filmmakers in this period, a critical Indigenous viewpoint urges a continued push for complete narrative sovereignty and a deeper interrogation of the frameworks, both within and outside the industry, that still shape the representation of Indigenous lives and cultures on screen.

References

Film References

de Heer, R. (Director) (2002) The Tracker.

de Heer, R. (Director) (2006) Ten Canoes.

Goldman, P. (Director) (2002) Australian Rules.

Johnson, D. (Director) (2000) Stolen Generations.

Johnson, D. (Director) (2002) Gulpilil: One Red Blood.

Johnson, S. (Director) (2001) Yolngu Boy.

Khadem, M. (Director) (2001) Serenades.

King, D. (Director) (2000) The Opportunists.

King, D. (Director) (2000) Mirror Images.

Maclean, D. (Director) (2003) Queen of Hearts.

McGregor, S. (Director) (2002) Cold Turkey.

McKenzie, C. (Director) (2000) The Third Note.

McKenzie, C. (Director) (2000) Road.

Noyce, P. (Director) (2002) Rabbit-Proof Fence.

Perkins, R. (Director) (2001) One Night the Moon.

Purcell, L. & Fletcher, B. (Directors) (2002) Black Chicks Talking.

Sen, I. (Director) (2002) Beneath Clouds.

Sen, I. (Director) (2002) Black Talk.

Sen, I. (Director) (2005) Shifting Shelter 3.

Thornton, W. (Director) (2002) Mimi.

Thornton, W. (Director) (2005) Green Bush.

Vadiveloo, D. (Director) (2002) JABIRU 0886: Trespass.

Vadiveloo, D. (Director) (2003) Beyond Sorry.

Various Directors (2000-2009) Burnt Bridge (TV Series).

Various Directors (2000-2009) Call Me Mum (TV film).

Various Directors (2000-2009) 50 Years of Indigenous Television (TV program). Australian Broadcasting Corporation (ABC).

Various Directors (2000-2009) Aboriginal Rules (TV documentary).

Various Directors (2000-2009) A Sister's Love (TV documentary).

Various Directors (2000-2009) Australian Rules Football (TV documentary).

Various Directors (2000-2009) Buried Country (TV documentary).

Various Directors (2000-2009) Ceremony – The Djungguwan of Northeast Arnhem Land (TV documentary).

Various Directors (2000-2009) Checkerboard Love (TV short).

Various Directors (2000-2009) Feel My Absence (TV short).

Various Directors (2000-2009) Flat (TV short).

Various Directors (2000-2009) Island Fettlers (TV documentary).

Various Directors (2000-2009) Jindabyne Kanyini (TV documentary).

Various Directors (2000-2009) Kalkadoon Man (TV documentary).

Various Directors (2000-2009) La Perouse Panthers (TV documentary).

Various Directors (2000-2009) Messagestick - Bob Maza Tribute (TV program). Australian Broadcasting Corporation (ABC).

Various Directors (2000-2009) My Brother Vinnie (TV documentary).

Various Directors (2000-2009) Sisters, Pearls and Mission Girls (TV documentary).

Various Directors (2000-2009) Snake Dreaming (TV film).

Various Directors (2000-2009) Stone Country (TV documentary).

Various Directors (2000-2009) Sunset to Sunrise (TV documentary).

Various Directors (2000-2009) The Forgotten (TV short).

Various Directors (2000-2009) Too Little Justice (TV short).

Various Directors. (2006). Making Ten Canoes.

Books

Murray, S. (2007) The cinema of Australia. Eastgardens, NSW: McGraw-Hill Australia.

Pike, A. & Cooper, R. (1998) Australian film 1900-1977: A guide to feature film production. Revised edition. Melbourne: Oxford University Press.

Smith, R. (2002) Australian film. Melbourne: Schwartz Publishing.

Turner, G. (2006) Film as social practice. 4th edn. London: Routledge.

Academic Articles

Batty, P. (2011). '“We’re not just victims”: challenging representations of Indigenous Australians in documentary film'. Studies in Documentary Film, 5(1), 5-19.

Langton, M. (2003) Beyond the burden of history in Indigenous Australian cinema. Film Studies, 20(1), 36-53.

Rutherford А. Ten Canoes as “Inter-Cultural Membrane” [Interview with Rolf de Heer] // Studies in Australasian Cinema. 2013. Vol. 7. No. 2–3. P. 137–151. doi: 10.1386/sac.7.2-3.137_1.

Starrs D.B. The Authentic Aboriginal Voice in Rolf de Heer’s “Ten Canoes” (2006) // Reconstruction: Studies in Contemporary Culture. 2007. Vol. 7. No. 3. P. 1–10. 

Thorner S. Ten Canoes // American Anthropologist. 2009. Vol. 111. No. 4. P. 519–521. doi: 10.1111/j.1548-1433.2009.01160.x.

Vanderknyff J. SBS: First Australians; Ten Canoes // American Anthropologist. 2009. Vol. 111. No. 4. P. 521–522.

Websites

Anon. (n.d.). Models of Collaboration in the Making of Ten Canoes (2006). [online] Available at: https://www.screeningthepast.com/issue-31-dossier-u-matic-to-youtube/models-of-collaboration-in-the-making-of-ten-canoes-2006/.

Australian Broadcasting Corporation (ABC): https://www.abc.net.au/

Central Australian Aboriginal Media Association (CAAMA). Available from: https://caama.com.au/

Eckersley, M. (2014, May 26). Australian Indigenous Drama on Film. Australian Indigenous Drama. Available from: https://australianindigenousdrama.blogspot.com/2014/05/australian-indigenous-drama-on-film.html

Imparja Television. Available from: https://www.imparja.com/

Krausz, P. (n.d.). Screening Indigenous Australia: An overview of Aboriginal representation on film. [online] Available at: https://kooriweb.org/foley/resources/media/indigenousfilm.pdf.

Masters Thesis

Hampton, S. (2010) Reorienting the Feminine Other in Australian Film. BA thesis, University of Queensland. Available from: https://espace.library.uq.edu.au/view/UQ:3b58300/s44184267_final_thesis.pdf

Doctoral Thesis

Debenham, J.A. (2013) Representations of Aborigines in Australian Documentary Film 1901 - 2009. PhD thesis, University of Newcastle. Available from: https://nova.newcastle.edu.au/vital/access/services/Download/uon:13508/ATTACHMENT01

Frey, A. (2015) Eco-Fourth Cinema: Indigenous Rights and Environmental Crises. PhD thesis, University of Queensland. Available from: https://espace.library.uq.edu.au/view/UQ:f232a64/s4330872_final_thesis.pdf