Melbourne-based producer Arenamedia is on a roll. The filmmaker-driven independent, run by Australian producer, director and writer Robert Connolly, has three films — Blueback, Emily and Sweet As — playing at Toronto International Film Festival (TIFF).
Connolly wrote (with Harry Cripps) and directed 2021 Australian box-office hit The Dry, starring Eric Bana, and his directing credits range from his early social and political critiques The Bank, Three Dollars and Balibo through to family film Paper Planes, International Emmy-nominated TV series The Slap and Deep State for Fox Network Group. As a producer and executive producer, Connolly has also worked on films and series such as The Boys, Romulus, My Father, The Warriors, Gallipoli and Chasing Asylum.
With Connolly often busy directing and writing, Arenamedia has three other full-timers who produce or executive produce: Liz Kearney, Robert Patterson and emerging writer/producer Tara Bilston. James Grandison — who runs the Western Australian office and produced Blueback alongside Connolly and Kearney — Kate Laurie (Petrol) and Chloe Brugale (Because We Have Each Other) are non-exclusive producers at Arenamedia.
“We are lean but have a model that allows a diverse amount of work,” says Connolly, who notes that all Arenamedia producers and other key creatives have a stake in their own productions via partnership arrangements. “The whole producing team share an interest in deeply humanist stories, whether they be dramas, thrillers or comedies… We’re not trying to second-guess the market.”
Like many producers, Connolly believes television has taken over the middle ground of scripted content, forcing a polarisation of cinema. This partly explains Arenamedia’s slate being either bold, hard-to-finance films by new and emerging directors or films of scale, usually driven by Connolly himself.
Environmental drama Blueback — premiering as a special presentation at TIFF — is an example of the latter. It stars Mia Wasikowska, Radha Mitchell and Eric Bana, and is written and directed by Connolly based on Tim Winton’s novel. “It has this epic, dramatic scale but at its heart it is a profound film about saving the ocean, and a commercial film with big environmental ambition,” says Connolly. HanWay Films has pre-sold Blueback to territories including Weltkino Filmverleih in Germany, while Roadshow Films will open it locally on January 1, 2023.
Meanwhile, Emily is actress Frances O’Connor’s feature directing debut and opens TIFF’s Platform section. Emma Mackey plays author Emily Brontë, and the Tempo/Beaglepug production with Arenamedia has been pre-sold widely by Embankment Films, including to Bleecker Street for the US.
Jub Clerc’s directing debut Sweet As is playing in TIFF Discovery, anchored by emerging First Nations actor Shantae Barnes-Cowan’s performance. Investment from the Melbourne International Film Festival (MIFF)’s Premiere Fund meant it received its world premiere there on August 13.
“The whole producing team share an interest in deeply humanist stories, which could be dramas, thrillers or comedies,” says Connolly.
Diverse portfolio
Meanwhile, Force Of Nature is in post. The sequel to The Dry is again with MadeUp Stories and features five women who go on a hiking retreat in the Australian bush but only four return. “We’re unafraid of making unashamedly Australian work with Australian talent,” says Connolly.
Also in the works is Mike Hailwood Film, based on the UK motorcycle racing legend’s 1978 comeback. Bana is writing and will play Hailwood and direct alongside Connolly. “It will shoot on the Isle of Man, in Victoria and possibly in New Zealand but maybe not until 2024,” says Patterson.
There are also a pair of animated features on the slate: stop-motion Memoir Of A Snail, written and directed by Oscar winner Adam Elliot (Harvey Krumpet), and Magic Beach, based on Alison Lester’s children’s book.
Kearney and Connolly are also involved in Originate, a VicScreen/SBS initiative that aims to champion new voices from traditionally underrepresented backgrounds. They will act as executive producers and mentors on the project that goes into production.
Patterson says Arenamedia has strong theatrical ambitions for its projects. It has its own distribution arm CinemaPlus and sales arm North South East West, which makes it easier for the firm to access finance from government agency Screen Australia — whose eligibility criteria stipulates that local distributors and international sales agents must be attached prior to production.
But Arenamedia will partner up where appropriate. Sphere Films and Roadshow picked up Sweet As on completion, for example. Roadshow has signed on for six Arenamedia theatrical releases, including The Dry and Force Of Nature. Madman has Emily locally. “We’re all about the cinema experience for communal consumption,” says Patterson. “We’re not purists and snobs but it’s what we all do and love.”
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