Gillian May Armstrong
18 December 1950
|Awards|| Australian Film Institute Award for Best Direction |
1979 My Brilliant Career
Gillian May Armstrong (born 18 December 1950) is an Australian feature film and documentary director, who specializes in period drama. Her films often feature female perspectives and protagonists.
Armstrong was born in Melbourne, Victoria, Australia on 18 December 1950.She went to a local high school, Vermont High School (now Vermont Secondary College), and was the middle child of a local real estate agent father and a primary school teacher mother who gave up work to have a family. Armstrong stated in The Australian that her parents were always very supportive of their hopes and dreams, which was not always the way it was for women in the 1960s and 70s. Her father was a frustrated photographer who wasn't allowed to follow his dreams professionally, yet always practised as an amateur. Armstrong reminisces of how she grew up in a dark room, learning all about photography. When she first decided to go to art school, Armstrong didn't have a very firm grasp on what she wanted to do.
Armstrong grew up in the eastern suburb of Mitcham. Armstrong was a technical theatre student at Swinburne Technical College while paying her tuition by working as a waitress.Originally, she attended school to become a theatrical set designer but the school that she attended also offered a film course. After she took it she was enamored by the great names of cinema and decided to enter the film industry. Then she won a scholarship to join the first 12 students at the country's first and only film school, the Australian Film and Television School. While she was in school, the Australian film industry was non existent, and she recalls how weird the accent sounded in new films, because it wasn't American, it was Australian. She attended Swinburne Technical College with the intention of becoming a theatre costume designer, but it was here she became increasingly interested in film. During this time, she was exposed to a range of artistic films that differentiated from the commercial cinema and television she was used to.
After graduating from art school in 1968, Armstrong was set on pursuing a career in film. She began making short films of 2–10 minutes, and started work as an assistant editor in a commercial film house, which lasted a year.
Following a string of small jobs within the Australian film industry, she achieved her first directorial recognition through her short film The Singer and the Dancer which won an award at the Sydney Film Festival.
Armstrong became a film director at the age of 27.During the time of the development of Australian Cinema Armstrong recalls in a Washington Post interview that tremendous tax breaks led to a frightful overproduction. Everybody was interested in doing deals and even stockbrokers were becoming directors. However, very few of them had the commitment to cinema that Armstrong and others had, and the films would be shown for a week or two, or not released at all. After Armstrong's second film My Brilliant Career , she had offers from Hollywood but quickly turned them all away, preferring to stay in Australia to make a deliberately small film called Starstruck . After the release of Starstruck, Armstrong went around giving interviews dressed in a large fuzzy blue sweater dress decorated with coloured beads, a black-and-white polka dot blouse, black tights and blue suede shoes all topped by a punk shag haircut.
Following this success, Armstrong was commissioned by the South Australian Film Corporation to make a documentary exploring the lives of young teenage girls living in Adelaide, South Australia. This became Smokes and Lollies (1976), her first paid job as director.
Armstrong's own interest in the girls led her to revisit them at ages 18, 26, 33 and 48, resulting in four more films in the style of the popular "Up Series". These are Fourteen's Good, Eighteen's Better (1980), Bingo, Bridesmaids and Braces (1988),Not Fourteen Again (1996), and her most recent film Love, Lust & Lies (2009)
Armstrong's first feature-length film My Brilliant Career (1979), an adaptation of Miles Franklin's novel of the same name, was the first Australian feature-length film to be directed by a woman for 46 years. Armstrong received six awards at the 1979 Australian Film Awards (previously the Australian Film Institute Awards, or AFI's) including Best Director. The film also brought considerable attention to its two main stars, Judy Davis and Sam Neill who were relatively unknown at the time.Following the success of My Brilliant Career, which was nominated for an Academy Award in Best Costume Design, Armstrong directed the Australian rock-musical Starstruck which proved her ability to tackle more contemporary and experimental subject matter and styles.
She has directed a number of rock music videos in the early 1980s, including 1984's "Bop Girl" by Pat Wilson, which featured Nicole Kidman.
Since then, Armstrong has specialised in period drama. She was the first foreign woman to be approached by the American film company MGM to finance her direction of a big-budget feature, which became Mrs. Soffel (1984) starring Mel Gibson and Diane Keaton.This film tells the true story of an affair between a prisoner and a prison warden's wife, and was relatively well received by audiences and critics.
On returning to Australia, Armstrong continued to make both documentaries and feature films. She earned great recognition for High Tide (1987) and The Last Days of Chez Nous (1992), for which she was nominated for Best Director at the 1987 and 1992 Australian Film Institute Awards (AFIs). The Last Days of Chez Nous also earned her a nomination at the Berlin Film Festival. Despite this, both films were largely unrecognised internationally
Armstrong discusses the making of High Tide in the 2003 Canadian documentary Complete Unknown co-directed by Griffin Ondaatje and Craig Proctor.
In 1994, Armstrong achieved her greatest Hollywood success with the adaptation of Little Women , starring Winona Ryder, Susan Sarandon, Gabriel Byrne, Christian Bale, Claire Danes and Kirsten Dunst. This adaptation of Louisa Mary Alcott's novel was one of the most popular films of the year, and emphasises Armstrong's focus on portraying the intimate lives of strong female characters and their relationships with one another.
She followed this success three years later with the film Oscar and Lucinda (1997), starring Ralph Fiennes and a relatively unknown Cate Blanchett. This film, based on the novel by Australian writer Peter Carey, tells the story of a mismatched love affair in 19th-century Australia. It received mixed reviews both locally and internationally, despite its high production value and strong performances by the film main actors.
In the 2000s, Armstrong went on to direct the feature films Charlotte Gray (2001), starring Cate Blanchett, and Death Defying Acts (2008), starring Catherine Zeta-Jones and Guy Pearce. Based on the novel by Sebastian Faulks, Charlotte Gray is another of Armstrong's films that centres around a strong female protagonist.
Removed from Armstrong's usual subject matter, Death Defying Acts portrays a moment in the life of 1920s escape artist Harry Houdini in the style of a supernatural, romantic thriller. It received a modest earning at the box office, and was part of a special screening at the 2007 Toronto International Film Festival
Despite the success of these more commercial films, it was Armstrong's lesser-known documentary Unfolding Florence: The Many Lives of Florence Broadhurst (2006), which earned her the most critical recognition during this time, and a nomination for the Grand Jury Prize at the Sundance Film Festival.
Armstrong has voiced her desire to reach a wide audience in her interviews, one that includes both men and women of all nationalities. However, her work continually addresses sexual politics and family tensions. Films focused on the escape and struggle with traditional sex roles and its related drawbacks and progressions such as One hundred a Day, My Brilliant Career, High Tide, and Oscar and Lucinda continue to reflect the theme.Furthermore, many people have called her a creator of "strong females" but she insists that she is simply making films about complex characters and the choices that they make.
Armstrong has a distinctive style in her work that resists easy categorisation. Most of her films cannot simply be stated as being either "women's films" or Australian ones which are the two most generalised categories for women in her line of work.Armstrong's films are described as mixing and intermingling genres in ways that recreate them as something vastly different than what they have been considered. Nevertheless, the films that Armstrong creates can also be considered conventional films in their appeal to the audience. Her films possess sensitive and delicate cinematography, fluid editing, an evocative feel for setting and costume, and a commitment to solid character development and acting. According to film scholar Gwendolyn Audrey Foster, Armstrong has a "strong feminist bent" and a "mordant sense of humor".
Armstrong is married to John Pleffer,and they have two daughters.
|1970||Old Man and Dog||short|
|1971||Roof Needs Mowing||short|
|1973||Satdee Night||short||also writer|
|1973||One Hundred a Day||short||also writer|
|1975||The Singer and the Dancer||short||also co-writer, producer|
|1976||Smokes and Lollies||Documentary|
|1979||My Brilliant Career||Feature Film||Won at both AFI and London Critics Circle Film Awards|
|1980||Fourteen's Good, Eighteen's Better||Documentary||also producer|
|1983||Having a Go||Documentary|
|1984||Mrs. Soffel||Feature Film||Entered into the 35th Berlin International Film Festival. Stars Diane Keaton & Mel Gibson|
|1986||Hard to Handle||Documentary||Concert video of Bob Dylan's 1986 True Confessions tour with Tom Petty and the Heartbreakers. Screened as an HBO special. Released only on VHS.|
|1987||High Tide||Feature Film||Nominated for AFI Award|
|1988||Bingo, Bridesmaids & Braces||Documentary|
|1991||Fires Within||Feature Film|
|1992||The Last Days of Chez Nous||Feature Film||Entered into the 42nd Berlin International Film Festival.|
|1994||Little Women||Feature Film||Stars Winona Ryder, Christian Bale & Kirsten Dunst|
|1996||Not Fourteen Again||Documentary||Also writer & producer. Won Best Documentary at AFI Awards.|
|1997||Oscar and Lucinda||Feature Film||Stars Ralph Fiennes and Cate Blanchett|
|2001||Charlotte Gray||Feature Film||Stars Cate Blanchett|
|2006||Unfolding Florence: The Many Lives of Florence Broadhurst||Documentary||Nominated at Sundance|
|2007||Death Defying Acts||Feature Film||Stars Catherine Zeta-Jones & Guy Pearce|
|2009||Love, Lust & Lies||Documentary||Won Australian Directors Guild Award|
|2015||Women He's Undressed||Documentary||Nominated for Best Best Feature Length Documentary, Australian Academy of Cinema and Television Arts|
|1979||Palme d'Or at Cannes Film Festival||My Brilliant Career||Nominated|
|1979||Australian Film Institute(AFI) Best Director||My Brilliant Career||Won|
|1981||Special Achievement Award at the London Critics Circle Film Awards||My Brilliant Career||Won|
|1985||Golden Berlin Bear at Berlin Film Festival||Mrs. Soffel||Nominated|
|1987||Australian Film Institute (AFI) Best Director||High Tide||Nominated|
|1992||Australian Film Institute (AFI) Best Director||The Last Days of Chez Nous||Nominated|
|1992||Golden Berlin Bear at Berlin Film Festival||The Last Days of Chez Nous||Nominated|
|1995||Chauvel Award at Brisbane International Film Festival||Won|
|1995||Dorothy Arzner Directors Award at Women in Film Crystal Awards||Won|
|1996||Australian Film Institute (AFI) Best Documentary||Not Fourteen Again||Won|
|2006||Australian Film Institute (AFI) Best Direction in a Documentary||Not Fourteen Again||Nominated|
|2006||Grand Jury Prize at Sundance||Unfolding Florence: The Many Lives of Florence Broadhurst||Nominated|
|2007||Australian Directors Guild Outstanding Achievement Award||Won|
|2010||Australian Directors Guild Award||Love, Lust & Lies||Won|
|2015||Australian Academy of Cinema and Television Arts, Best Feature Length Documentary Award||Women He's Undressed||Nominated|
Peter Lindsay Weir, AM is an Australian film director. He was a leading figure in the Australian New Wave cinema movement (1970–1990), with films such as the mystery drama Picnic at Hanging Rock (1975), the supernatural thriller The Last Wave (1977) and the historical drama Gallipoli (1981). The climax of Weir's early career was the $6 million multi-national production The Year of Living Dangerously (1982).
Dame Elizabeth Jane Campion is a New Zealand screenwriter, producer, and director. She is the second of seven women ever nominated for the Academy Award for Best Director and the first female filmmaker to receive the Palme d'Or, which she received for the acclaimed film The Piano (1993), for which she also won the Academy Award for Best Original Screenplay. Among her other directed films An Angel at My Table and Bright Star are the most highly regarded.
Little Women is a 1994 American coming-of-age historical drama film directed by Gillian Armstrong. The screenplay by Robin Swicord is based on Louisa May Alcott's 1868-69 two-volume novel of the same title, the fifth feature film adaptation of the classic story. After a limited release on December 25, 1994, the film was released nationwide four days later by Columbia Pictures. The film is dedicated to murder victim Polly Klaas and literary agent Judy Scott-Fox.
Ann Hui On-wah, is a Hong Kong film director, producer, screenwriter and actress who is one of the most critically acclaimed Hong Kong New Wave filmmakers. She is known for her films about social issues in Hong Kong. Her film works cover different categories, including: literary adaptation, martial arts masterpieces, semi-autobiographical works, female issues, social phenomena, political changes, and also thrillers. She served as the president of the Hong Kong Film Director's Guild from 2004 to 2006.
Women's cinema is a variety of topics bundled together to create the work of women in film. This can include women filling behind the scene roles such as director, cinematographer, writer, and producer while also addressing the stories of women and character development through screenplays.
Verna Fields was an American film editor, film and television sound editor, educator, and entertainment industry executive. In the first phase of her career, from 1954 through to about 1970, Fields mostly worked on smaller projects that gained little recognition. She was the sound editor for several television shows in the 1950s. She worked on independent films (including The Savage Eye, on government-supported documentaries of the 1960s, and on some minor studio films such as Peter Bogdanovich's first film, Targets. For several years in the late 1960s, she was a film instructor at the University of Southern California. Her one major studio film, El Cid, led to her only industry recognition in this phase of her career, which was the 1962 Golden Reel award for sound editing.
Márta Mészáros is a Hungarian screenwriter and film director. The daughter of László Mészáros, a sculptor, Mészáros began her career working in documentary film, having made 25 documentary shorts over the span of ten years. Her full-length directorial debut, Eltavozott nap/The Girl (1968), was the first Hungarian film to have been directed by a woman, and won the Special Prize of the Jury at the Valladolid International Film Festival.
Starstruck is a 1982 Australian comedy-drama musical film directed by Gillian Armstrong and starring Jo Kennedy, Ross O'Donovan and Margo Lee. The plot concerns two teenagers trying to break into the music industry. The film was shot on location in Sydney, New South Wales, Australia. It was marketed with the tagline "A Comedy Musical." The hotel shots were filmed at the Harbour View Hotel in The Rocks, near the south pylon of the Sydney Harbour Bridge.
Léa Pool C.M. is a Swiss-Canadian filmmaker who taught film at the Université du Québec à Montréal. She has directed several documentaries and feature films, many of which have won significant awards including the Prize of the Ecumenical Jury, and she was the first woman to win the prize for Best Film at the Quebec Cinema Awards. Pool's films often opposed stereotypes and refused to focus on heterosexual relations, preferring individuality.
The Last Days of Chez Nous is a 1992 Australian drama film directed by Gillian Armstrong and written by Helen Garner. Made in a style that emphasizes naturalism over melodrama, the film centres on what happens after Vicki arrives at the house of her older sister Beth, whose French husband falls for her. The film stars Bruno Ganz as the Frenchman JP, New Zealand actor Kerry Fox as the impulsive younger sister, and Lisa Harrow as her older sibling. The cast also includes Miranda Otto and Bill Hunter.
Laura Jones is an Australian screenwriter.
Jocelyn Denise Moorhouse is an Australian screenwriter and film director. She has directed films such as Proof, How to Make an American Quilt, A Thousand Acres and The Dressmaker.
My Brilliant Career is a 1979 Australian period drama film directed by Gillian Armstrong, and starring Judy Davis, Sam Neill, and Wendy Hughes. Based on the 1901 novel of the same name by Miles Franklin, it follows a young woman in rural, late-19th-century Australia whose aspirations to become a writer are impeded first by her social circumstance, and later by a budding romance.
Gariné Torossian is a Canadian filmmaker. Her works include Stone, Time, Touch which won best documentary at the Warsaw International Film Festival in 2007. Her films have screened at MoMa, the Telluride Film Festival (Colorado), Lux Cinema (London), the Egyptian Theatre, the Jerusalem Film Festival, the Warsaw International Film Festival, Berlinale, and a host of cinematheques, including those in Berlin, Edmonton, Ottawa, Winnipeg and Vancouver. Torossian's debut short, Visions (1992), was part of a retrospective at Centre Pompidou when she was 22. Her subsequent shorts were screened at New York Museum of Modern Art Cineprobe series when she was 25, and at the Spielberg theatre at the Egyptian (2019). Torossian's work has been broadcast on Arte France, Documentary Channel (Canada), Bravo Canada, Sundance Channel (USA), SBS (Australia) and WTN (Canada). Her films focus on notions of memory, longing and identity, underlined by her diverse and comprehensive filmography.
Suzana Amaral Rezende was a Brazilian film director and screenwriter. She was best known for the 1985 film A Hora da Estrela.
High Tide is a 1987 Australian drama film starring Judy Davis, from a script by Laura Jones, about the mother-daughter bond, directed by Gillian Armstrong. Armstrong reported that when she began work on High Tide she pinned a note above her desk: "Blood ties. Water. Running Away." Jan Adele plays Lilli's mother-in-law Bet, in her film debut.
Jo Kennedy is an Australian actress, singer, film director and screenwriter.
Tsipi (Tsipora) Reibenbach is an Israeli Film director, producer and screenwriter. Most of her work consists of documentary films dealing with painful issues in the Israeli society such as The Holocaust and Bereavement. Recipient of the Science and Arts Minister of Israel prize (1996) for directors and screenwriters. Her film "Choice and Destiny" is one of the most decorated documentary films made by the Israeli industry, among the notable prizes the film won are the Grand Prize in the Yamagata International Documentary Film Festival 1995, two Prizes in the International Documentary Film Festival Amsterdam 1994, and the Scam award (1994) in Cinéma du Réel festival in Paris, France. She received the DAAD scholarship in 2006 as a distinguished Israeli filmmaker.
Luciana Maria Arrighi is a Brazilian-born, Australian-raised, Italian production designer. She won an Oscar for the film Howards End in the category Best Art Direction.
Tali Shalom-Ezer is an Israeli filmmaker, screenwriter, and director. She is best known for her debut feature, Princess (2014) which premiered at the 2015 Sundance Film Festival as part of the World Dramatic Competition.
|Wikimedia Commons has media related to Gillian Armstrong .|