AN EFFECT OF THE REAL: THE SHORT FILMS
dir. Tracey Moffat, 1987-1999
74 mins. Australia.
In English.

SUNDAY, SEPTEMBER 12 – 5PM EST in-theater and at stream.spectacletheater.com
THURSDAY, SEPTEMBER 16 – 10PM EST in-theater and at stream.spectacletheater.com
FRIDAY. SEPTEMBER 17 – 10PM EST in-theater and at stream.spectacletheater.com
THURSDAY, SEPTEMBER 23 – 10PM EST in-theater and at stream.spectacletheater.com

NICE COLORED GIRLS
dir. Tracey Moffatt, 1987
16 mins. Australia.

Colonialist ethnographic narratives intertwine with a finely-crafted account of modern aboriginal women out on the town. To finance the night, they pick up a “captain” (old and white, of course) to exploit in turn, closing a historical cycle. The satisfaction of seeing these systems inverted is matched only by the pop verve of Moffatt’s filmmaking.

NIGHT CRIES: A RURAL TRAGEDY
dir. Tracey Moffatt, 1990
20 mins. Australia.

In an early expression of much of the stylization she’d later put to use in beDEVIL — matte paintings, stagey sets, otherworldly intercut memories — Moffatt explores a stifling interracial family relationship in the middle of nowhere. An aging black daughter cares for her ancient white mother alone in the arid outback, dreaming of freedom, but what else does she have? Meanwhile, popular Aboriginal crooner Jimmy Little haunts the margins of the story.

HEAVEN
dir. Tracey Moffatt, 1997
28 mins. Australia.

Flipping ingrained cinema codes, Moffatt exploits the unmediated POV possibilities of digital video in female gaze. No less intrusive than its male counterpart, Moffatt’s camera eye voyeuristically observes beefcake surfers changing clothes in beach parking lots or moves in for direct interrogation. But though her subjects speak to her, amused or irritated or perplexed, we never hear a word — the camera is too distracted, dropping regularly from chiseled pecs to bulging speedos.

ARTIST
dirs. Tracey Moffatt & Gary Hillberg, 1999
10 mins. Australia.

The plight of the artist as a viewed through cinema history: blocked inspiration, self-doubt, an uncomprehending public. Sometimes the only catharsis is to bring it all down. A transition point from Moffatt’s earlier films to later collage work.