A Brisbane director’s feminist manifesto
Perry Mooney on set with Brisbane director, Grace Julia
Behind the Lens: MAKING Brutal
As a Brisbane-based female film director, one of the most fulfilling aspects of my work is the opportunity to make brand films that are as visually striking as they are impactful. Brutal, the fashion film I directed for Australian designer Georgia Wolff, is a project that embodies this ethos. Brutal doesn’t just put the spotlight on slow fashion: it makes a statement too.
THE CONCEPT
There was one sentence that echoed in my mind during lockdown: “I thought I would miss you, but I don’t.” Drawing from my personal experience post break-up as well as a collective sense of isolation felt during the pandemic. Brutal began to take shape. As I looked out the window of my Brisbane apartment at driverless roads and a baron cityscape, I noticed an empty concrete car park. With a design inspired by the stark beauty of brutalist architecture, it was unexpectedly captivating: I just knew I had to shoot there!
I approached Georgia Wolff with a treatment that reflected the raw elegance of her designs while conveying a story of female empowerment. Her delicate-yet-commanding designs demanded a cinematic treatment that that was as bold as the brand. The resulting film weaved together pieces from her collection, supported by visceral visuals and a powerful narrative that makes viewers swear they’ll never go back to their ex.
A true Queensland creative collaboration, the styling was paired with Erica Gray’s handcrafted masks, which became symbolic extensions of the film’s themes (did somebody say The Handmaid’s Tale?), while Posy Jewels’ striking ‘NO!’ earrings complemented Georgia Wolff’s designs (and my feminine rage) perfectly.
Recognition & PRESS COVERAGE
Brutal received a Silver ACS Award, a testament to the incredible work of Julian Panetta and his entire team. It was also selected for the prestigious La Jolla Fashion Film Festival and screened at the Melbourne Fashion Film Awards, standing alongside some of the best in the industry.
Meanwhile, the positive press response to Brutal was so validating! Publications like Style Magazines and F Magazine highlighted the film’s unique approach to storytelling, its role in championing slow fashion and my work as a female film director in Brisbane.
A SMALL BUT MIGHTY TEAM
Perry Mooney’s performance was magnetic, embodying the essence of Georgia Wolff’s designs with every movement. Perry, a talented model and proud Indigenous woman, joined the project just 12 hours before the shoot after our original model pulled out—a blessing in disguise.
Behind the camera, Julian Panetta, our director of photography, captured each frame with a painterly precision. The camera movement is dynamic, thanks to Kelvin Chan, our steadicam operator. Professional drone pilot, Jeff Camden, added breathtaking aerial shots that lent the film its eery sense of scale, while focus puller, Connal Plunkett, ensured every shot was razor-sharp. Our team wouldn’t have been complete with Panavision’s Brian Flexmore, whose stills photography captured the behind-the-scenes magic of this Motley Content production.
In post-production, Navaz Illava’s editing tied the visuals together seamlessly, and Wil Hughes’s original score deepened the film’s emotional resonance. Warren Eagles, our Colourist, brought the finishing touches with an immaculate and sparse palette.
PRODUCING IN BRISBANE DURING A PANDEMIC
The two-day shoot was filmed in a local car park I had scouted during daily isolation walks. Abiding by the social distancing rules, we embarked on an ambitious shoot with a minimal crew of five, armed with sanitiser, masks and a binder of police permits. The constraints we experienced at the time of production meant that my role was not just that of writer/director: I was also the producer, stylist and, of course, the taxi service! By being in creative control of every single aspect of the film, it meant that I was truly engaged in bringing it all together to support a very specific vision, and I despite wearing many hats at once, I couldn’t be happier with the result.
DRIVEN BY FEMALE-LED STORIES
Directing Brutal was a journey of creative exploration: it helped me determine what it is that I want to say with my work. To me, all filmmaking, including commercials and video content production, is an act of storytelling. Whether it’s a micro-short, like Brutal or 15-minute film like Adele (which I’ll link to below), there is one unifying concept that ties my body of work together, which is amplifying female voices, and the film’s success served as a reminder staying true to one’s vision.
Brutal serves as a benchmark in my career that inspires me to keep pushing boundaries. I am determined keep challenging conventions, and be brave in every aspect of my filmmaking journey as a woman in film and television.
