Moo Renzaho

Acacia, 20, is in the midst of a messy break-up after cheating on her girlfriend. Since moving out of home three years earlier, she has grown apart from her father, 55-year-old Rob, who longs for a stronger relationship with her. The two agree to go camping together to catch up, but there’s one major barrier to their emotional reconnection: Acacia hasn’t yet come out to him. Halfway through the trip, Rob takes a walk on his own and stumbles upon a young boy by himself – an encounter that takes him on a journey of self-reflection, enabling father and daughter to finally open up to one another.

DOG WHISTLE is a mockumentary that follows the rise and eventual fall of an ambitious student documentary project. Compelled by rumours that a small right-wing political club is planning a racially motivated political demonstration on campus, a student documentary crew make a plan to uncover the insidious inner-workings of the Conservative Australian Men’s Party (C.A.M.P). However, while student director, Matt, sets out with a clear directorial vision, when he arrives to meet the club members for the first time and realises that he not only recognises the club’scharismatic President Jack, but knows him from a brief but heated encounter a few years prior, he suddenly becomes entangled in web of lies and the film suffers.

When infamous conservative media outlet The Daily Larrikin becomes the target of a federal investigation into discriminatory hiring practices, producers Jack and Tom scramble to come up with a way out of the inevitable company-sinking legal trouble. Their solution: bring on a token diversity hire as a do-nothing assistant to their volatile star commentator Roy Ruebens, functionally killing two birds with one stone. The best they can manage is another white guy who happens to be gay; but the new twink on the job quickly ignites a powder keg of internal politics, on-air blunders and viral PR disaster, turning a legal problem into a full blown crisis for the entire company.

Moses, a quiet yet experienced cinema worker with OCD is cleaning up on their nightly close. Upon his routine sweep of the lower auditorium, he stumbles across an industrial-sized can of peaches. Things start to get weird as Moses finds more and more of these cans, the projectors start acting on their own and a mysterious man with a can for a head stalks Moses throughout the cinema. When Moses calls for help he is finally caught by the Can Man and is forced to confront his innermost fears.