When the Camera Stopped Rolling

This film will have a focus on families, relationships, mother-daughter issues, grief and loss, trauma and recovery. By airing these often difficult to talk about issues, the film stimulate critical dialogue and become and in-depth resource. It will offer a vital educational tool for organisations focused on bereavement, family issues, women's issues, Australia’s cultural history, creativity and the arts. Lilias Fraser is virtually unheard of in Australia. This film will establish her place in Australia's cinematic history. The intimate story provides an insider’s view of the emotional reality of issues affecting many women and families. We will have webisodes available on topics such as: ‘Equal Work’; ‘Mothers and Daughters’; ‘Grief and Bereavement’; and ‘Healing through Storytelling"

The film's two strong, positive female role models overcome gender barriers to succeed in strongly male-dominated areas. This will help women and girls to know that they can also break through. The film's compassionate investigation of a complex mother-daughter relationship and its healing/resolution demonstrates that positive outcomes are possible for others. This has the potential to affect transformation and improved social outcomes for women on a broad scale.

There is great power in the honest, open telling of one’s own story by those who have experienced – and recovered from - trauma. We hope that the film will encourage others to do the same and stimulate the open discussion of issues relating not only to trauma and recovery, but also to motherhood and parenting, family systems, family violence, women and work, and addiction.

We are in the process of gathering ideas for partnerships now that the film is nearly completed. The Catholic Cemeteries and Crematoria is a partner and have donated funds.

We hope that viewers will be motivated and inspired to explore their own family relationships, to address issues that may need to be addressed, and to become aware of other family units that may need support. We also hope that viewers will recognise the importance of trauma recovery support organisations and support them in a range of actions.

Our indicators for success are: an increase in public discourse about trauma and recovery, intergenerational trauma and family relationships; and an increase in the disclosure of personal stories by those who have seen the film or heard about it. We will know we have achieved our impact vision when the film is screened at a large range of festivals, cinemas and community events.