Veterans Film Festival

Veterans Film Festival

The annual Veterans Film Festival presents films from around the world, which explore real or imagined stories about war

Canberra (November 2020)

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Veterans Film Festival News & Reviews

Past and Future: Persian Film Festival 2019

Past and Future: Persian Film Festival 2019

“We are proud that the 8th Persian Film Festival is paying a tribute to the ...
Sgt. Stubby: An American Hero

Sgt. Stubby: An American Hero

Moving and reliably engaging for all ages and those anywhere and everywhere who love dogs ...
Journey's End

Journey’s End

War epics more often than not revolve around the key or decisive battles, the grand, ...
Transmilitary

Transmilitary

Documentaries can recount, expound or explain so much – but it’s always better when they’re ...
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USS Bataan, The Korean War. The aircraft carrier USS Bataan transferring bags filled with mail to the Royal Australian Navy destroyer HMAS Warramunga (I) while at sea. From 12th - 21st July 1952 HMAS Warramunga was undertaking screening duties for the American Aircraft Carrier. It was a quiet patrol memorable only for her crew because of an issue of free ice cream from the USS Bataan. Official war artist Frank Norton painted this image while on patrol with HMAS Warramunga. He was transferred to the USS Bataan 'and spent a few days making drawings re the carrier and the destroyers - transferred back to "Warramunga" at sea - by helicopter which I found quite a novel experience.'
Squadron No. 77, The Korean War. In the capacity of official war artist in Korea, Ivor Hele was 'requested to paint the men and machines of 77 Squadron, Royal Australian Air Force at Kimpo. These are Meteor jets of 77 Squadron after completing a sortie and returning to Kimpo, the main airstrip outside Seoul. An Australian pilot is in the centre foreground with a group of crewmen working behind him, the Meteor jets lined up in the background. Meteors were the first jets to fly operationally with the RAAF. 77 Squadron was based at Kimpo in early 1951 and flew from there until the end of the Korean War. The new silver Gloster Meteor jets were not easy to depict and at times Hele struggled to convincingly portray their form and surfaces.The figures in the work have a sense of disparate and unconnected activity. The crewmen are working together, but remain somehow apart. Hele was striving, but not quite succeeding, to build a formal set piece action painting, something he had so successfully created in the past. The difficulty he had in creating these works parallels the dogged efforts of the soldiers and airmen he depicts. Hele's Korean works have a nervous edgy quality and are powerful yet disturbing images of the Korean War.
3RAR, Korean War. Much of the Korean War was fought in trenches along static defensive lines. Here Australian soldiers from 3rd Battalion, Royal Australian Regiment, lay out barbed wire defences along the Jamestown Line. This expressive drawing shows Hele’s ability to convey the effort and energy required to perform heavy labour.
Battle of Merdjayoun (19 June 1941 - 24 June 1941). The work is softly described, with pastel blues and yellows, lending an air of unreality to the smoke billowing out of the destroyed buildings in the town. Merdjayoun stood in front of a pass that led to British-held Palestine. It was held at one point by Australians, but lost to a counter-offensive by the pro-Axis forces. Eventually Lieutenant General Sir Frank Berryman and the 7th Division gained the town back. The Syrian Campaign involved Australian troops, mostly from the 7th Division, fighting alongside allied troops against the Vichy French in Syria and Lebanon.
Battle of Litani River, Syrian Campaign 1941. Depicts a ruined bridge over Litani River, near Marjayoun, Syria (now located in Lebanon). The bridge was blown up by retreating Vichy French forces. The artist wrote: "a serviceable low level bridge has been constructed some hundred yards or so below the bridge - which was a one-span structure of interesting design." This painting is part of the artist's Syrian Campaign series. The campaign involved Australian troops, mostly from the 7th Division, fighting alongside allied troops against the Vichy French in Syria and Lebanon.
Syrian Armistice, June-July 1941. Depicts a group of officers at a table signing the Syrian Armistice at Acre in Palestine, 1941. General Wilson, the commander of British Troops in Palestine and Transjordan is seen at centre. General John Lavarack, Commander of the Australian Corps is seen at extreme right of picture. General de Verdilhac, Deputy Commander-in-Chief of the Vichy French Army in Syria, General Catroux from the Free French Army and de Gaulle's deputy in the Levant (not identified) are in the painting. The campaign took place in Syria.
Portrait of Lieutenant Roden Cutler VC, Field Regiment; Syrian Campaign.
The Battle of Crete, 20 May 1941. The Battle of Crete was unprecedented in three respects: it was the first battle where paratroops were used on a massive scale, the first airborne invasion in military history, the first time the Allies made significant use of intelligence from the deciphered German Enigma code, and the first time invading German troops encountered mass resistance from a civilian population. This painting by war artist Peter McIntyre depicts the airborne attack by German forces at Canea, one of the major cities of Crete. During the War, McIntyre was appointed New Zealand’s official war artist, and he covered the campaigns in Greece, Crete, the Western Desert, Tripolitani, Tunisia and Italy.
The Allied Greek Campaign, 1940-41. Towards the end of 1940, Italian forces invaded Greece from Albania. In February 1941 the British advance in North Africa was halted and a force, which included the 6th Australian Division, was organised and sent to assist the Greek nation. On 6th April the Germans invaded Greece and Yugoslavia simultaneously. The British force, which by then had not been fully concentrated in the country, initially encountered the Germans in the northern mountain passes. Outflanked and outnumbered the defenders were forced back, and the campaign developed into a fighting withdrawal into southern Greece. At various points along the way, however, units of the force offered stubborn and spirited resistance, to the stronger German forces, which also possessed control of the air and could operate at will against the defenders. This painting shows a scene of desperate activity in the area of the Tempe gorge, where lightly-armed Australian troops battle against German armoured units, with air support, as they advanced across the Pinios River in a thrust towards Larisa.
Field Marshal Henry Maitland Wilson, 1st Baron Wilson, GCB, GBE, DSO. During the Second World War he served as General Officer Commanding-in-Chief (GOC-in-C) British Troops in Egypt, in which role he launched Operation Compass, attacking Italian forces with considerable success, in December 1940. He went on to be Military Governor of Cyrenaica in February 1941, commanding a Commonwealth expeditionary force to Greece in April 1941 and General Officer Commanding (GOC) British Forces in Palestine and Trans-Jordan in May 1941. Wilson became GOC Ninth Army in Syria and Palestine in October 1941, GOC Persia and Iraq Command in August 1942 and GOC Middle East Command in February 1943. In the closing stages of the war he was Supreme Allied Commander in the Mediterranean, from January 1944, and then Chief of the British Joint Staff Mission in Washington D. C. from January 1945.
St Kilda Film Festival Proudly presented and produced by the City of Port Phillip, the Festival supports the Australian film industry by turning the spotlight on exceptional films by both emerging talent and short works by accomplished industry professionals. Accredited by the Academy of Motion Picture Arts and Sciences, the St Kilda Film Festival is an Academy Awards qualifying event. Award-winning films from the Festival are eligible for consideration in the Short Film Awards and Documentary Short sections of the Oscars.
Melbourne International Film Festival An Australian cultural icon which has had an essential role in putting Melbourne on the national and international cultural map. It has also been a key player in building a sense of community and connectedness in Melbourne. The festival has an innate appreciation of its famously loyal audience, all of whom come to MIFF for bold, entertaining and adventurous programming, the delight of the shared festival experience, and to discover something new about themselves, or the world around them.
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