Tracey Moffatt's 'Bedevil,' Australia's first feature film directed by an Aboriginal woman, is being re-evaluated 30 years after its release. The triptych horror movie, known for its artificial sets, non-linear storytelling, and genre-bending style, explores supernatural elements and challenges Western narrative structures, remaining a pioneering and under-appreciated work in Australian cinema.
Bedevil was Australia’s first feature film by an Aboriginal woman. Thirty years on, it’s still pioneering
Horror filmsAustralian filmIndigenous artIndigenous AustraliansCultureArt and designAustralia
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TL;DR: Key points with love ❤️Tracey Moffatt's 'Bedevil,' Australia's first feature film directed by an Aboriginal woman, is being re-evaluated 30 years after its release. The triptych horror movie, known for its artificial sets, non-linear storytelling, and genre-bending style, explores supernatural elements and challenges Western narrative structures, remaining a pioneering and under-appreciated work in Australian cinema.
Trending- 1 1993: 'Bedevil' released and screened at Cannes film festival.
- 2 30 years later (from 1993): Film is still pioneering and being discussed.
- The film remains under-appreciated despite its pioneering status
- It continues to provoke discussion and re-evaluation for its artistic merit and cultural significance
What: Tracey Moffatt's 1993 film 'Bedevil,' Australia's first feature film by an Aboriginal woman, is being discussed 30 years later for its pioneering and unconventional style. The film is a triptych of ghost stories, using artificial sets, non-linear timelines, and shifting tones (including faux-documentary and tourism commercial styles) to create an abstract and enigmatic horror experience.
When: 30 years after its release (implying 1993 release); screened at 1993 Cannes film festival.
Where: Australia (film's origin and setting).
Why: The film is being re-examined for its unique artistic approach, its historical significance as the first feature by an Aboriginal woman, and its challenging of conventional Western storytelling, particularly its allusions to the Dreaming.
How: Moffatt uses intentionally artificial sets, non-linear narrative structures (blending timelines), and dramatic shifts in style and tone (e.g., faux-documentary, cooking show segment) to create a unique horror experience that is abstract and unsettling rather than relying on gore or jumpscares.