Where’s Our Next Baz? Start Here with Top Australian Films

A Cultural Conversation: The Top 50 Australian Movies of All Time

Every year, Australians engage in passionate debates about culture. From the Triple J Hottest 100 countdown to the latest film rankings, there’s always something to argue about. Recently, the release of the Top 50 Australian Movies of All Time list by The Age and The Sydney Morning Herald sparked a mix of celebration and reflection. While some were pleased with the recognition of local artistry, others questioned the choices made, highlighting the need for a more inclusive representation of modern Australian cinema.

One point of contention was the inclusion of The Piano, directed by Jane Campion. Although the film is set in New Zealand, it was produced by Jan Chapman, a key figure in Australian filmmaking. This raised questions about how we define what constitutes an Australian film. Similarly, the absence of works by Ivan Sen and Gillian Armstrong from the top 10 drew criticism, as their films have contributed significantly to the national cinematic landscape.

These kinds of lists are not new. The Sight and Sound poll, conducted by the British Film Institute, has been running since 1952, and the Oscars remain a major event for global recognition. However, while these lists can shape perceptions, they also reflect biases and limitations. They influence funding decisions, audience choices, and educational curricula, often turning subjective opinions into perceived truths.

What stood out in the recent Top 50 list was the strong presence of pre-2000 films. Classics like Wake in Fright, Picnic at Hanging Rock, and Mad Max have become part of Australia’s cultural identity, not just because of their artistic merit but also due to the longevity of their directors. These films had more opportunities to be seen, discussed, and re-evaluated over time. In contrast, newer voices are underrepresented, raising concerns about the current state of the industry.

In the 1970s and ’80s, the Australian film industry benefited from generous government funding and tax incentives, which supported local talent and Australian stories. Today, the landscape is much different. The 30 per cent location offset for major productions has brought international films to Australia, but these projects rarely reflect the country’s modern identity. Meanwhile, local filmmakers struggle to access dwindling government funds, making it difficult for them to compete with high-budget international productions.

Some may argue that technology has made it easier for young filmmakers to create content using smartphones or AI. However, this doesn’t change the fact that audiences are less likely to support low-budget films. Why would someone pay for a film with a budget lower than a bucket of popcorn?

Despite these challenges, there are signs of hope. Birdeater, directed by Jack Clark and Jim Weir, made it into the Top 50 at No. 33. This debut feature showcased a low-budget Australian film that felt high-budget, featuring an unknown lead actress who later gained international recognition. It represents the kind of fresh perspective that Australia needs to continue evolving its cinematic identity.

Lists like the Top 50 remind us of the depth of talent in this country, but they also highlight the gaps in representation. They are a nostalgic exercise, but they should also serve as a call to action. Just as Peter Weir and Gillian Armstrong once were unknown, today’s filmmakers deserve the same chance to shine. One of them could be the next Baz Luhrmann or George Miller.

My Recommended Recent Australian Films

Here are ten relatively recent Australian films that I believe deserve a place in the Top 50:

A Grand Mockery (directed by Adam C. Briggs and Sam Dixon, 2024): Josie leads a life of passive mundane displeasure before a mental breakdown forces him into the Queensland forest.
Babyteeth (directed by Shannon Murphy, 2019): A terminally ill teen upsets her parents when she falls in love with a small-time drug dealer.
Friends and Strangers (directed by James Vaughan, 2021): Follows two middle-class wanderers in a drily comic exploration of inner Sydney.
From All Sides (directed by Bina Bhattacharya, 2025): A multiracial family find themselves beset from all sides as they navigate modern life in the outer suburbs of Sydney.
In My Blood It Runs (directed by Maya Newell, 2019): A young Aboriginal boy struggles to balance his traditions with the state education system.
Inside (directed by Charles Williams, 2024): After being transferred to adult prison, Mel is taken under the wing of Australia’s most despised criminal.
Island of the Hungry Ghosts (directed by Gabrielle Brady, 2018): Captures the land migration of crabs on Christmas Island and the social effects of the high-security asylum seeker detention centre.
Lesbian Space Princess (directed by Leela Varghese and Emma Hough Hobbs, 2025): A space princess is taken out of her sheltered life and thrust into a galactic quest to save her bounty hunter ex-girlfriend from evil aliens in this acclaimed animated feature.
Limbo (directed by Ivan Sen, 2023): A jaded detective arrives in a remote outback town to investigate the cold-case murder of a local Indigenous girl.
Of an Age (directed by Goran Stolevski, 2022): A Serbian ballroom dancer experiences an unexpected and intense 24-hour romance with a friend’s older brother.