Hitch a ride into the dark heart of Australia with this blistering, badly behaved sample-based film that confronts the horrors of our national mythologies.
Part political satire, eco-horror and road movie, TERROR NULLIUS is a political revenge fable that binds together a documentary impulse with speculative muckraking. The apocalyptic desert camps of Mad Max 2 become the site of refugee detention, bicentenary celebrations are ravaged by flesh-eating sheep, and the women of Australian cinema go vigilante on Mel Gibson.
By intricately remixing fragments of the nation’s cinema canon, Soda Jerk interrogates the unstable entanglement of fiction that underpins this country’s vexed sense of self.
“A weird, dazzling, kinetic, dizzyingly ambitious, sensationally mishmashed beast of an Australian film.” – Luke Buckmaster, The Guardian
Artist bio
Formed in Sydney in 2002, Soda_Jerk is a two-person art collective that approaches sampling as an alternate form of history-making.
Working at the intersection of documentary and speculative fiction, their archival practice has taken the form of video installations, cut-up texts, screensavers and live video essays.
Soda_Jerk has recently collaborated with Australian collectives The Avalanches and VNS Matrix, and have held solo exhibitions at Anthology Film Archives in New York, the National Museum for Women in the Arts in Washington DC, and Künstlerhaus Bethanien in Berlin.
Their multi-channel video installations have also been staged at Pioneer Works, New York; Walter Phillips Gallery, Banff; Gallery of Modern Art, Brisbane.
During 2017 their work has shown at SPACES, Cleveland; Miller Gallery at Carnegie Mellon University, Pittsburgh and the Barbican, London.
Following their acclaimed political revenge fable TERROR NULLIUS (2018), Soda_Jerk are currently working on a new feature Hello Dankness.
The trailer for Soda_Jerk's TERROR NULLIUS
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