Following the separate stories of two men as they encounter various places and people in the city of Bundaberg, Flathead is a striking, fascinating film that blends documentary and fiction into an unforgettable portrait of northern Australia.

In the aftermath of director Jaydon Martin taking home the Blackmagic Design Australian Innovation Award at MIFF, we speak to him about his experience of screening Flathead at the festival, and the effect it’s had on his journey as an artist.

Flathead is one of several impressive recent Australian films that have screened at International Film Festival Rotterdam before making their way to MIFF. Can you tell us a bit about the experience of premiering it abroad?

Premiering Flathead at Rotterdam was truly a dream come true. The festival’s programming is at the forefront of celebrating boundary-pushing cinema, championing bold, independent voices from around the world. It’s an exciting place for filmmakers experimenting with the language of cinema to showcase their work. I’m incredibly grateful to be a part of this.

Rotterdam, in particular, has been instrumental in elevating independent Australian cinema like Friends and Strangers and The Plains, really helping to spotlight and define the next wave of Australian filmmakers on the international stage. It was incredibly rewarding to see the hard work of the Flathead team recognised internationally. Without the dedication and talent of everyone involved, we could never have imagined the level of success the film has achieved so far.

Part of that success has included winning the Blackmagic Design Australian Innovation Award at MIFF – what does the award mean to you as a filmmaker, and how did it feel to get the nod?

Being selected for the Blackmagic Design Australian Innovation Award was an incredible honour, especially coming from a jury filled with directors and film practitioners I deeply admire and respect. I was completely shocked, as the other nominees are such talented filmmakers. Just receiving the nomination felt amazing – I never imagined I would actually win.

Do you have any plans for how you’ll spend the cash prize?

This cash prize is truly life-changing. It means I can finally hang up my steelcap boots and leave my night job moving furniture and cleaning conference rooms, allowing me to focus fully on my next film. As an artist from a working-class background, it’s always been a struggle to stay afloat, especially with how expensive filmmaking can be. I’m incredibly grateful to Blackmagic Design for this opportunity.

Above: Director Jaydon Martin  |  Header: Flathead

Looking back, when did you first encounter MIFF, and what kind of influence has the festival had on your development as a filmmaker?

This is my first experience at MIFF, and it’s been absolutely wonderful. The films, the people, the entire atmosphere of the festival has been amazing. MIFF has always been on my Mount Rushmore of festivals where I dreamed of screening my work at, and I think many Australian directors feel the same way. It’s a huge source of inspiration and something to aspire to. Coming from the outside as an artist, being a part of MIFF has been an incredible experience.

What do you think more generally makes a festival like MIFF important to artists and filmmakers?

It’s essential that Australia has an international festival like MIFF that is so committed to promoting and elevating Australian film talent on the global stage. In a time when the industry is tightening its belt, MIFF stands as a beacon of light, showcasing independent and important voices not only from across Australia but from around the world. It offers a rare chance to see incredible international films that might not get a traditional theatrical or VOD release in Australia. Being able to sit in a dark room with strangers and, for two hours, be transported to another world – experiencing a perspective you’ve never encountered before – is truly magical. MIFF keeps that cinematic magic alive.

I’m especially grateful to Artistic Director Al Cossar and all the programming team for putting together such a rich program this year. He’s done an amazing job. And I want to thank the entire MIFF team and all the volunteers; their hard work is inspiring, and they create such a welcoming and supportive atmosphere.

What’s next for Flathead, and do you have any other screen projects in the works?

We have several international festivals lined up for the end of the year, and I’m really excited to see how Flathead resonates with audiences in different countries.

As for what’s next, I’m currently working on my next film, which we hope to start shooting early next year. I’ll be diving even deeper into the methodology of docufiction, using it to shed light on the complexities of Australian identity. It’s a subgenre that allows me to explore specific yet universal themes that we all navigate as humans. I’m excited to see where it takes me creatively.