Leo Berkeley is a filmmaker and an academic. He is looking at interesting ways to combine these two roles. He teaches and researches in film, television and video production at RMIT University in Melbourne. This website is devoted to showcasing his past productions, academic writing on film and television, current projects and ideas for the future. His research interests are diverse but include the practice of screen production, low & micro-budget filmmaking, improvisation, the essay film, machinima, community media, creative arts practice as research and media futures. He is excited by new developments in filmmaking that lower the barriers to production and allow a greater number of people to make a greater range of creative works. The films he enjoys most tell new stories in new ways but still aim to be accessible to a broad audience.
Contact Leo via email@example.com.
SENSES OF CINEMA INTERVIEW
by Jake Wilson
One of the most original and neglected figures in Australian cinema, Leo Berkeley has continued working across a range of formats and genres for over three decades. Yet most reference works credit him with just a single feature – 1991’s Holidays on the River Yarra, one of two Australian features invited to that year’s Cannes Film Festival (the other was Jocelyn Moorhouse’s Proof). A precursor and counterpoint to Geoffrey Wright’s Romper Stomper (1992), Holidays is a low-key study of two unemployed Melbourne youths (Craig Adams and Luke Elliott) who become embroiled with a far-right group bent on staging a coup on an African island.
Sad to hear about the death of Jacques Rivette, one of the really great filmmakers. Seeing L’Amour Fou and Celine & Julie Go Boating for the first time was, for me, the proverbial life-changing experience. When I was 20, I drove across the Nullabor to see a screening of Out One Spectre at the short-lived Perth Festival that ran in the seventies, worried that I’d never get a chance to see it again. A mere 4 hours running time, the short version of his legendary Out One. Good tribute in the New York Times.