Revisiting Brutal 6 years on from 2020
Perry Mooney on set with Brisbane director, Grace Julia
Watch Brutal on Grace’s portfolio.
Behind the Lens: MAKING Brutal
As a freelance commercial director and EP of one of the fastest growing production companies in Brisbane, one of the most fulfilling aspects of my work is the opportunity to collaborate directly with a brand. As a commercial video director, I have great respect for the traditional agency model, however in 2020, when we made Brutal, the traditional way of approaching commercial content production was no longer an option. We had to think out of the box, which allowed us to produce a brand film that was both visually striking and highly relevant at a time when most of our country was in lockdown. Brutal, the fashion film I directed for Australian designer Georgia Wolff didn’t just put the spotlight on slow fashion: it made a statement too.
THE CONCEPT
At the time, I was living alone, and one sentence kept echoing in my mind: “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 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 Brisbane cinematographer Julian Panetta and our small-but-mighty team. The film was also selected for the prestigious La Jolla Fashion Film Festival and screened at the Melbourne Fashion Film Awards, standing alongside work from sone of the most creative commercial directors and producers 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.
Keeping the entire film production Brisbane based
As a Brisbane film director, it was important to me to work with a local team to bring the project to life, because not only were we limited by travel restrictions, but it was a time where the spotlight had shifted away from cities like Sydney and Melbourne, and Brisbane film directors had an opportunity to shine, especially in the commercial and content space.
Brisbane actor and model Perry Mooney’s performance was magnetic, and behind the camera, Brisbane cinematographer, Julian Panetta, captured each frame with a painterly precision. The camera movement is dynamic, thanks to Kelvin Chan, our steadicam operator, while Brisbane drone pilot, Jeff Camden, added breathtaking aerial shots that gave the film its eery sense of scale. Our AC, Connal Plunkett, ensured every shot was razor sharp, and our stills photographer Brian Flexmore, captured behind-the-scenes of the magic we’d somehow managed to create at a time when most Australian production companies were unable to shoot.
In post, Navaz Illava’s editing tied the visuals together seamlessly; Wil Hughes’s original score deepened the film’s emotional resonance; and our colourist Warren Eagles brought the finishing touches with an immaculate palette, which we had the pleasure of grading with him in person at his Brisbane home studio.
PRODUCING IN BRISBANE DURING A PANDEMIC
Brutal was shot entirely in the inner city suburb of Bowen Hills. 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 director: I was also the producer, stylist and taxi service! However, as an experienced short film producer, I embraced the challenge. As a freelance commercial director who, at the time, was just emerging on the scene, being in creative control of every single aspect of the film 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, whether it’s a commercial or a short film, is a form of storytelling. Whether it’s a brand film like Brutal or 15-minute narrative short film like Adele, there is one unifying concept that ties my body of work together, which is amplifying women’s stories, and the film’s success served as a reminder to stay true to that vision.
Brutal serves as a benchmark in my career as a narrative and freelance commercial director, and knowing audiences enjoyed the piece inspires me to keep pushing boundaries, challenge conventions, and be brave in every aspect of my filmmaking journey.
