Surfer and ex-cop Les tracks down kidnap victim Rebecca through a world of nightclubs, alley drug deals and isolated farms. A potion of kidnap, crime and collusion. Dripping with interesting multi layered character. mixed in and against the magnificent backdrop of Sydney’s northern beaches and backed with the underbelly of club nightlife. 

A champion high school rugby player (Russell Page) has a secret desire to be a ballet dancer, having spent 11 years in ballet school. Seizing an opportunity to audition for a local company’s presentation of “Romeo and Juliet”, he nonetheless fears what will happen to his reputation if the other kids in his school find out. Adding the practices to his already burgeoning schedule quickly starts to create problems with his friends (Radha Mitchell, Martin Henderson), his teachers, his coach, his play director (Paul Mercurio), and his ballet partner (Rebecca Yates). Of course, it all comes together on the stage of the Sydney Opera House.

A stockbroker travels to New Orleans to land a big account, only to be drawn into a web of sex and deceit.

Mankind’s wars have finally come to a violent end. Only the Dark Planet can save the species, and only one man can get them there.

Teddy (Johnathon Schaech) in an irresistible New York conman who flees to Australia hoping to escape his troubles — and winds up with more of them that he could have imagined.

“I was stunned when I walked onto the set for the first time. When I filmed there before it was pristine desert, quite a spiritual place; this time the town of Woop Woop was there, complete and mind-bending,” he says. “Driving into the location at night with the set all lit up, I honestly felt like I was on the moon. It was a magical experience…one of those moments in film when you are taken away from what you understand reality to be. Woop Woop is a fantastical kind of place and, as an actor, it is wonderful to be embraced by the magic of it.”

Three HIV-positive gay men have their revenge on the pharmaceutical industry by stealing AIDS medicine from drug stores and providing it to those who can’t afford it.

An inexperienced director takes on the opera Cosi Fan Tutti–in an asylum.

The timeless story of Joseph, told with great attention to biblical accuracy.

Two cops go undercover to an island of kink to bust an international diamond smuggler.

“Woo, woo, woo,” giggles Mercurio like Lou Costello, informed about the book. How much of this saucy stuff makes the film? “There is a character in the film called Elliot,” he says. “There’s a character in the film called Lisa. And I think that’s about it.” In the Hollywood version, directed by Garry Marshall of Pretty Woman fame, Mercurio plays Elliot, and Dana Delany, from the television series China Beach, the corseted seductress who won’t take no for an answer. While it’s being billed as more romantic comedy than steamy blockbuster, it’s the love scenes which are attracting most of the attention.

As we take tea, Mercurio lets loose about Exit to Eden’s “smut week”: “On Monday I made love to Dana. On Tuesday I went down on Dana. On Wednesday I was washed by a couple of semi-naked girls in the bath. On Thursday I had my bottom slapped and I had to cry. On the Friday we had to reshoot the going down scene which was very difficult. And then I had to wash Dana in the bath.” Not exactly Endless Love. At one point, his wife, children, and mother visited the Los Angeles set for a looksee, prompting one bewildered toddler to ask why daddy was kissing another woman.

A big budget Hollywood film. Nude scenes. An American accent to master. Although he concedes it was an unnerving experience, Mercurio adopts a Nike-style approach when posed with a challenge: “I just did it.”

–George Epaminondas
Elle, September 1994

It’s been twelve years since Tom McGregor took his sister for a fateful ride. Now his insulated world is invaded by strangers, bringing him purpose, and perhaps forgiveness.

LIFE’S BURNING DESIRE follows the rise of Paul Mercurio, the star of STRICTLY BALLROOM, as an internationally acclaimed actor, dancer and choreographer.

The film explores Mercurio’s vision and genius as a dancer through his experiences in the development and performance of “Contact”, a new dance theatre piece conceived, choreographed and performed by Mercurio with his own dance company, ACE (Australian Choreographic Ensemble).
The Australian Choreographic Ensemble is a professional dance theatre company that has been established so that individual choreographers can develop their skills in an environment that can support and foster their talent.
Scott Hastings can dance–a little too well for his partner, his family, and the judges. Can he win the championship without being “strictly ballroom”?

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