spear ( film )
called a ” hybrid feature film”, spear tells a contemporary aboriginal story through movement and dance .
the indigenous dance film spear, which had its world premiere in toronto last month, was another festival highlight .
spear is based on the work of the same name from bangarra’s skin double bill from 2000 .
hunter page - lochard (centre) as djarli and bangarra dancers in stephen page' s spear .
beautifully shot, spear is an abstract film made up of dance pieces in a warehouse, tunnels, a prison, a rock platform by the ocean and other less specific locations .
beautifully shot by bonnie elliott, spear is an abstract film made up of dance pieces in a warehouse, tunnels, a prison, a rock platform by the ocean and other less specific locations .
for hunter page - lochard, working on his father’s feature directorial debut spear was like a rite of passage .
spear: close your eyes and it’s an exquisite soundscape. turn the audio off and it’s striking visual art .
inspired by director stephen page’s seminal 2000 dance work, spear, and other pieces from the bangarra dance theatre’s repertoire, spear is the story of djali, a young aboriginal man, told in movement, music and words .
film festivals are where bold visions are given a place to shine, with an audience eager to experience something new and exciting. moviegoers attending the toronto international film festival will get a glimpse of something unique with “ spear, ” and today we have an exclusive clip from the movie .
descriptions of spear, a strange and beautiful beast adapted from work developed by sydney’s bangarra dance theatre, will suggest a film that is, god forbid, unique – a word almost entirely extinguished from the cinematic lexicon .
if you want to answer the questions ,
who starred in the movie the librarian: quest for the spear ?
and
what is the full cast list of the librarian: quest for the spear ?
then this page has got you covered .
a newcomer to the helmer’s chair, page is no stranger to choreographing for film, having done so for “bran nue dae” and “the sapphires. ” he first directed for film when approached by executive producer robert connolly to oversee one of the chapters in the groundbreaking 2012 portmanteau film “the turning, ” and he’s brought most of his crew from there to “spear. ” the result is a fluid, organic melding of dance and camera movement .
this cast list of who was in the librarian: quest for the spear includes both lead and minor roles. (12 items )
the librarian: quest for the spear cast list, listed alphabetically with photos when available. this list of the librarian: quest for the spear actors includes any the librarian: quest for the spear actresses and all other actors from the film. you can view additional information about each the librarian: quest for the spear actor on this list, such as when and where they were born. to find out more about a particular actor or actress, click on their name and you' ll be taken to page with even more details about their acting career. the cast members of the librarian: quest for the spear have been in many other movies, so use this list as a starting point to find actors or actresses that you may not be familiar with .
a resonant addition to the dance - film canon that grapples with the troubled history of australia' s indigenous population .
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the audience wore headsets for the screening in an old waterside workers hall in port adelaide, near where the film was shot .
spear is a contemporary aboriginal story, told through movement and dance, of a young man djali as he journeys through his community to understand what it means to be a man with ancient traditions in a modern world. spanning from the outback of australia to the gritty city streets of sydney, spear is a poignant reflection of the continuing cultural connection of indigenous people. spear is an intimate journey with stephen page, one of australia' s most celebrated artists, as he brings this modern day mythological story to the screen .
in the closest spear has to a standard film performance, a homeless and haggard - looking aaron pedersen (billed as suicide man) is introduced – an electrifying moment. he bellows at passers - by in a subway passage, crying out to be heard and understood, before he is surrounded, embroiled, by dancers .
the shock value might have receded but the dark comedy behind the film' s best - remembered scene – bubby clingwrapping his cat – still works .
charting a young indigenous man’s journey from metaphorical birth to the hard realities and saving cultural nourishment of urban aboriginal life today, “spear” is a unique experience in urgent storytelling through movement from first - time feature director and celebrated choreographer stephen page and his indigenous, sydney - based bangarra dance theatre. audiences attuned to the film’s wavelength will [ … ]
reviewed at dendy opera quays cinemas, sydney, aug. 18, 2015. (in toronto film festival — discovery .) running time: 84 min .
oh yeah, call the police. tell them about the spear of destiny, the golden goose, the lost ark. enjoy your stay in the psych ward. i understand thorazine comes in vanilla now .
when robert connolly picked bangarra artistic director stephen page to direct sand – one of the episodes of the film adaptation of tim winton’s the turning – he brokered a marriage between an established dance talent and another medium .
two aboriginal clans from urban and remote communities live in an apocalyptic world and must decide who will be the new leader for the next 100 year cycle. spear explores what this means to aboriginal men through dance, physical movement, spoken word, hip hop, traditional song and story .
with grass skirts, feathered head - dresses and penis sheaths, the villagers from one of the south pacific' s last traditional tribes were a striking sight as the romance tanna had its australian premiere at the adelaide film festival .
de heer' s experimental approach to the film included using 32 cinematographers during the shoot and having star nicholas hope wear binaural microphones sewn into his wig so the soundtrack resembles what bubby hears as he emerges into a dark modern world .
a film that will be compelling for some viewers but a challenge for others was backed by the festival' s hive fund, which commissions ambitious projects that explore art on screen. it will have special event cinema screenings over summer .
tanna is the latest example of a promising new stream in australian film – filmmakers reaching out into the region to tell collaborative stories in foreign languages, joining the rocket in laos, ruin in cambodia and arrows of the thunder dragon in bhutan .
directed by stephen page, the film stars hunter page - lochard, aaron pedersen and djakapurra munyarryun, and follows a young man from the outback to the big city of sydney, all told through dance but with minimal dialogue. here’s the official synopsis :
while the film held up well, the experimental sound was most effective as bubby discovered the modern world, recoiling at the sound of bagpipes, touching lives in a home for the severely disabled and performing like a demented nick cave with a punk band .
spear marks a more interesting milestone: the first contemporary indigenous dance movie. what a weird and wonderful head trip, something less watched than experienced. close your eyes and it’s an exquisite soundscape. turn the audio off and it’s striking visual art. combined, a vial of dark and beautiful magic – on every front, an exhilarating achievement .
as the tanna cast left the cinema on sunday, they were greeted by four aboriginal dancers who were part of the festivities before stephen page' s feature film directing debut, which led the director to joke that the red carpet felt like a united nations world indigenous conference .
djali (the director’s son hunter page - lochard) partly embodies the role of the audience, wowed and confused by the stimuli around him. and it’s through his wide eyes that the film plays out, as if he’s stuck in a trance and his visions are ours too .
doing this film, i' ve seen it as sort of an initiation process in my own becoming of a male i guess. i would describe my character as a young urban aboriginal male trying to grasp his aboriginality, and i mean that by his culture in a new and fast growing world .
the festival continues until sunday, with highlights expected to include the world premiere of remembering the man, a documentary about the real couple behind holding the man; a restored version of storm boy; and another australian film telling a story from the region, tom and sam mckeith' s​ philippines boxing drama beast .
this first feature film directed by renowned australian choreographer stephen page (bran nue dae, the sapphires and a segment of the turning) may be virtually dialogue - free, but the cast’s emotive physical performances and a stunningly evocative score – composed by page’s brother david, fusing traditional and modern aboriginal sound – builds an experience that virtually explodes with meaning .
they have created what feels like a richly authentic film about a controversial romance between a young couple from the same tribe, based on real events that took place in the 1980s. and considering none of the cast had acted before, there are some impressive performances, especially by marie wawa and mungau dain​ as the couple whose love is threatened by tribal conflict .
a useful comparison to describe “spear” in broad strokes is, perhaps, “west side story. ” robert wise, who had never directed a musical, was smart enough to let the strapping choreography of co - director jerome robbins and leonard bernstein’s remarkable music tell as much, if not more, of the rival gang story than ernest lehman’s screenplay. tellingly, page’s brother david has marshaled an extraordinarily multifaceted score that synthesizes traditional and contemporary music into an evocative and celebratory soundscape .
for some this might be a little too stage - oriented and, while every scene brings new wonders, there is a slight sense of repetition. but for me the film’s greatest power came from the entrancing, at times shocking, way page and his team imbue contemporary environments with ancient relevance. as if two panes of time have been folded into a single window .
01 / 07 / 2010 (dvd) a good one for the family. this is another one that looks too much like a tv series than an actual movie but it is surprisingly a good sitting. a nice round of usual comedy that is fitting for the family with an adventurous story that keeps things interesting. the cgi is terrible but the film managed to keep me entertained .
while it’s not the principle focus of the work, the role of women in the culture is a constant, hovering presence in the form of characters identified in the credits as old lady, earth spirit and woman of desire. also notable throughout is the tone of benevolent tenaciousness sustained by page and his troupe. sure, life’s been tough, “spear” says, but we’ve got the fortitude and cultural heritage to survive and grow. that’s a powerfully positive message in contemporary australia and one that translates easily into any language .
there’s the sight of a campfire on top of an upturned car; a tribesman’s first encounter with an escalator; dancers in jeans and body paint. there’s also a scene in a bowling alley where gaudy neon signs violently contrast with the simple garb of traditionally clothed indigenous men. jedda plays on a tv screen in the background, page’s hat tip to a watershed production (this 1955 film was the first australian feature to cast two aboriginal actors in the lead roles) .
production: a cinemaplus (in australia) release of an adelaide film festival, australian broadcasting corp. , australia council for the arts, screen australia, arena media, brown cab prods. , bangarra dance theatre presentation of an arenamedia production, in association with soundfirm, definition films, carriageworks, indigenous department screen australia, bangarra dance theatre. (international sales: levelk, frederiksberg, denmark .) produced by john harvey. executive producers, robert connolly, liz kearney .
crew: directed by stephen page. screenplay, justin monjo, page, from the bangarra dance theatre production “spear / skin. ” camera (color, widescreen), bonnie elliott; editor, simon njoo; music, david page; production designer, jacob nash; costume designer, jennifer irwin; art director, phoebe collier; set decorator, matilda woodroofe; sound (5. 1 surround, stereo), andrew belletty; sound designer, andy wright; line producer, belinda mravicic; assistant director, thomas reid; contemporary choreography, stephen page, bangarra dancers; cultural consultant / traditional choreography, djakapurra munyarryun .
hunter page - lochard plays djali, a young man seen first in some kind of cleansing ritual atop dramatic seaside rock formations. (the character is only named in the credits, where other players are referred to as
suicide man ,
dingo man ,
and so on .) he proceeds to be something of a viewer surrogate, an outsider in various hard - to - read scenarios for most of the film. there' s what might be a standoff between gangs under the headlamps of an old car; an ancient dirt - throwing invocation in a thicket of trees; an encounter with a ranting homeless alcoholic in a subway passage .
hunter page - lochard, aaron pedersen, djakapurra munyarryun, waangenga blanco, kaine sultan - babij, beau dean riley smith, daniel riley, leonard mickelo, demala wunungumurra, romeo munyarryun, elma kris, yolande brown, nicola sabatino, bangarra dancers .
one challenge for international auds (but not an insurmountable one) is an understanding, or even awareness, of the long and often painful history of interaction between the indigenous population of australia and the white europeans sent in british prison ships to colonize the country. suffice it to say the gulf between the two cultures has been fractious and wide, growing to the point where aboriginals coming of age in or very near an australian city often feel suspended between two very different worlds with allegiance to neither .
along for much of djali’s journey is a character known only as suicide man (aaron pedersen, the taciturn indigenous cop in ivan sen’s “mystery road”), a tragic figure who, when not ranting or telling off - color jokes, speaks slurrily yet movingly about his descent into alcoholism and homelessness .
most of the indoor work was shot at the empty shipyards on cockatoo island in sydney harbor, with bonnie elliott’s graceful yet solid camerawork and jacob nash’s spare, evocative production design creating an industrial purgatory at pungent odds with the sun - drenched water - side and outback sequences. two different worlds, indeed .
with: hunter page - lochard, aaron pedersen, djakapurra munyarryun, waangenga blanco, kaine sultan - babij, beau dean riley smith, daniel riley, leonard mickelo, demala wunungumurra, romeo munyarryun, elma kris, yolande brown, nicola sabatino, bangarra dancers .
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it was really just posing what it is to be a man in the 21st century and so out of that came the certain social issues that we wanted to deal with. everything from substance to physical abuse to religion and to what is the man' s purpose i suppose in society .
i just wanted to have it somewhere different that wasn' t the typical desert of an outback. this is in north - east arnhem land, it has that fusion of fresh water and salt water, tropical but it' s still red dirt so it had a wonderful combination of all. and we were able to find this great forest of eucalypt, long - stemmed bark trees .
you need to go in expecting to see something spiritual and to open yourself up to that and to not go in expecting to get an aaron sorkin narrative .
you really do connect... from a feeling, the human feeling and the human spirit .
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djali, a young aboriginal man journeys through his community to understand what it means to be a man with ancient traditions in a modern world .
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rikki mason is credited twice - firstly, at position 15, in the list of' additional bangarra dancers'; secondly, at position 29, in the list of' white male dancers' .
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a crisp 84 - minute running time has page whizzing through locations, from roadsides to coastal rocks .
what form that meaning takes and what relevance it has to the viewer will differ wildly from person to person. but page’s sensory feast – an enigmatic dreamscape of pictures and sounds, connected like swirling drapery by editor simon njoo (who also cut the babadook) – can be shared by all .
there isn’t a plot per se; more a collection of themed dance sequences extended from a 2000 performance piece of the same name. many of the interior sequences were shot in cockatoo island’s desolate shipyards by cinematographer bonnie elliott, who infused these final hours with a heavy, drowsy, beautiful look .
a crisp 84 - minute running time has page whizzing through locations, from roadsides and coastal rocks to train station tunnels and nondescript low - lit performance spaces .
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much emphasis is put on body paint, crusty powders, and other adornments, especially in a recurring image of a man hanging upside down in a cavelike place, covered in crumbling white mud and sprouting what appear to be roots and feathers from his spine. djali eventually joins him briefly, some time in between going bowling with an aboriginal elder and dancing a pas de deux with a young woman. whatever the character gains from this moment of incubation, he eventually emerges where he began, shirtless by the sea, one of many men summoning something from the sky that outsiders cannot understand .
it follows a young aboriginal man, djali, as he journeys through his community to understand what it means to be a man with ancient traditions in a modern world .
featuring dancers from stephen’s highly acclaimed bangarra dance theatre, this is an intimate journey with one of australia’s most celebrated artists as he brings this modern day mythology to the screen. page took a 37 - minute contemporary dance piece out of the theatre and into the world, from the bush to urban sydney .
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eight cast members who had never seen a movie until they collaborated to make one arrived in the cinema warmly singing, dancing and waving to the audience .
and screening in a tropical atmosphere – the airconditioning was turned off as a courtesy to the scantily clad guests – tanna proved to be a touching and beautiful insight into an ancient tribal culture .
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bad boy bubby, rolf de heer' s​ bold 1993 drama about a loner who breaks out of the dingy room he shares with his sexually abusive mother and discovers a disturbing world, had an immersive first - ever screening with binaural sound .
while it has no direct narrative, it gradually emerges as a story about an aboriginal youth, djali (hunter page - lochard), observing troubling visions of contemporary aboriginal life before seeming to find his own place in the world .
the abc is one of its backers but the cinema is the natural home for a haunting experience that features dancers from page' s bangarra dance theatre. the most potent segments feature a ranting, broken figure, suicide man (aaron pedersen), who describes himself as living between two worlds with a heart that' s in neither .
there is also a jokey vaudeville - style scene, watched in apparent horror by djali, as indigenous dancers perform to that old song my boomerang won' t come back .
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spear is a 2015 australian drama film directed by stephen page . it was screened in the discovery section of the 2015 toronto international film festival . originally performed by the bangarra dance theatre in 2000 , it has been reimagined for film using mostly dance and movement . 
spear is a 2015 australian drama film directed by stephen page. it was screened in the discovery section of the 2015 toronto international film festival. originally performed by the bangarra dance theatre in 2000, it has been reimagined for film using mostly dance and movement.
spear is a 2015 australian drama film directed by stephen page. it was screened in the discovery section of the 2015 toronto international film festival. originally performed by the bangarra dance theatre in 2000, it has been reimagined for film using mostly dance and movement.