Paul Cox is one of the most important
filmmakers to come out of Australia ... he is a filmmaker of incredible
energy, persistence and vision - all qualities which are crucial
to survive as a filmmaker. He is also uncompromising in fulfilling
his vision which is almost always achieved with comparatively
small budgets of about $1 million. As a director, he has an ongoing
screen relationship with many of Australia's greatest actors.
The themes in his films - isolation, faith, hope, love, survival
- remain the same and reoccur over and over, but above all else
his films are about human frailty ... The visual style of his
films is simple. Paul Cox films are not about and do not contain
special effects. They do not generally involve complicated production
set-ups. There are rarely crane shots - a simple tracking shot
is usually about as complex as it gets. It is worth recalling
the 540-degree opening shot Cactus (1986). As a director,
he is more concerned with story telling and capturing the performance
of his actors. Light is often a strong motivating element in any
Paul Cox film. His cinematography often uses strong shadows and
he is not afraid to include considerable darkness in the frame.
Many Paul Cox films also contain repeating motifs, such as the
use of grainy Super 8 footage of someone's point-of-view looking
up through the treetops towards the sky.
Tyndall, "Paul Cox - Filmmaker", Senses of Cinema
(see reference below)
23 mins, 16mm)
(1966, 10 mins, 16mm)
(1968, 40 mins, 16mm)
(1969, 7 mins, 16mm)
(1969, 12 mins, 16mm)
(1970, 20 mins, 16mm)
(1970, 30 mins, 16mm, documentary)
(1971, 35 mins, 16mm)
(1972, 60 mins, 16mm)
Backstage (1974, 22 mins, 16mm, documentary)
(1975, 10 mins, 16mm)
All Alone My Dear (1975, 22 mins, 16mm)
(1976, 78 mins, 16mm)
Seeing (1977, 24 mins, 16mm)
Looking Out (1977, 90 mins, 35mm)
(1978, 10 mins, 16mm)
(1978, 100 mins, 35mm)
Child Called Michael (1979, 30 mins, 16mm, documentary)
of Nek Chand (1980, 22 mins, 16mm, documentary)
(1980, 53 mins, 16mm, documentary)
Hearts (1981, 95 mins, 35mm)
Flowers (1983, 91 mins, 35mm)
and Destiny (1984, 120 mins, 16mm, documentary)
Wife (1984, 97 mins, 35mm)
With Care (1985, 75 mins, 16mm)
Boy (1985, 53 mins, 16mm, Children's TV film)
(1986, 95 mins, 35mm)
Life of Trees (1986, 25 mins, 16mm, Children's TV film)
The Life and Death of Vincent Van Gogh (1987, 95 mins, 35mm)
(1988, 90 mins, 16mm, Children's TV film)
(1989, 95 mins, 35mm)
Braid (1990, 91 mins, 35mm)
Tale (1991, 93 mins, 35mm)
and the Bandit (1992, 92 mins, 35mm)
Me (1993, 29 mins, 35mm, part of TV series "Erotic Tales")
(1994, 96 mins, 35mm)
Revenge (1996, 90 mins, 35mm)
Dimension (1997, 43 mins, IMAX - 3D)
The Story of Father Damien (1998, 120 mins, Super 35mm)
(2000, 91 mins, 35mm)
of Vaslav Nijinsky (2001, 90 mins, 35mm)
Touch (2004, 102 mins, 35mm)
Salvation (2008, 98 mins, 35mm)
by Keith Connolly, Cinema Papers, no. 22, July-Aug 1979.
Hearts", by Kathe Boehringer, Filmnews, Nov-Dec 1982.
of Flowers", by Helen Greenwood, Cinema Papers, no.
44-5, April 1984.
Cox", interview with Debi Enker, Cinema Papers, no.
46, July 1984.
First Wife", by Ross Gibson, Filmnews, Aug-Sep 1984.
by Adrian Martin, Filmnews, September 1986.
Tale", by Alissa Tanskaya, Cinema Papers, no. 85,
Cox - Filmmaker", by Philip Tyndall, Senses of Cinema,
Issue 9, Sep-Oct 2000.
interview with Paul Cox",
by Richard Phillips, World Socialist Web Site, January 6, 2001.
Diaries Of Vaslav Nijinsky: the culmination of a career",
by Philip Tyndall, Senses of Cinema, Issue 20, May-June
Bill Mousoulis, Paul Cox, Mark Patterson, Philip Tyndall, March
Profile compiled by Bill Mousoulis, with assistance
from Paul Cox and Mark Patterson. Thanks also to Philip Tyndall.
to Melbourne independent filmmakers index page