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Five Short Films of Nigel Buesst

Sunrise Picture

Year: 1960~, 70 mins
Code: SUP-Five
ISBN: 978-1-921895-94-4

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All of these films were made with minimal resources so it's no surprise that they look fairly basic. Transfer from 16mm prints has done little to make matters better. However they deserve attention on the basis of their content - moments captured from the sixties, like the arrival at Essendon Airport of Roy Orbison and the Beach Boys (in Fun Radio). Or a jazz concert at the partially built Opera House ( in The Twentieth) which was extracted from footage found in a rubbish bin...

    As the wreckers ball lays waste to a fine set of old building in East Melbourne a visiting 
    professor considers the value of our national identity.

    This 1963 kaleidoscope of our culture, both its energy and its tawdriness, rolls out in a never
    ending babble from radio station 3UZ, and in particular their top DJ at the time - Don Lunn.

    A rambling film in the tradition of the abstract works so popular with young film-makers in the
    sixties, perhaps in definace of earnest Hollywood story-telling. Just let the images and sounds
    float by as an aid to rumination. It gently mocks the questionable "need to communicate"

    A girl recalls three generations of the family history, how mother was conceived in the year of
    the Yarra floods and how life in the 1920's was no less a soap opera that it is today. Unique
    footage of early Melbourne.

    In December 1965 there was a jazz convention in Sydney. This attempt to record the event
    has lain unseen ever since, but the passing of the decades reveals the significance of

Director: Nigel Buesst

After graduating B Com from Melbourne Uni in 1960, Nigel Buesst sought work in the British film industry. He worked at Shepperton Studios as an assistant editor and on various other freelance assignments before returning to Melbourne in 1962 to work for the ABC at Ripponlea.
Since then he's worked in various capacities, as film editor, cameraman, sound recordist, producer and director.
He was particularly active in the '60s Carlton scene, made manifest in the doco Carlton + Godard = Cinema. He spent thirteen years as a lecturer at Swinburne University's Film and TV Department and five years as Director of the St Kilda Film Festival.

Nigel Buesst started out with a biopic about Squizzy Taylor and has returned to the form on several occasions, fascinated perhaps by the excitement and variety of other people's lives. Recent subjects have been Benny Featherstone, a memorable bandleader of the '30s, and Gerry Humphrys, the lead singer of The Loved Ones. There have been numerous shorts, mostly on 16mm and in collaboration with others, and a few features, the most ambitious being Compo in 1987. This filmed version of a play by Abe Pogos was screened at the 1989 MIFF and sold to BBC television. Nigel's main influences have been filmmakers who have achieved magic on minimal budgets, ranging from the British Free Cinema movement through to the French New Wave, to Andy Warhol in New York, Raul Ruiz, Werner Herzog, even the Dogma crowd. But he concedes that magic on any budget is alluring, like Mulholland Drive or Punch-drunk Love.


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