An elderly artist thinks he has become too stale and is past his prime. His friend (and agent) persuades him to go to an offshore island to try once more. On the island he re-discovers his muse in the form of a young girl.

When the clubhouse of a group of country kids, known as the "Terrible ten" needs money for funding they invent numerous ways to make money. During their attempts at making puddings and selling mineral water they stumble on a formula for breeding coloured sheep.

An Italian sports journalist arrives in Australia but finds no work. The only employment he can find is as a builder's labourer. At first, he cannot comprehend the culture, but eventually he finds mateship and romance.

While flying to the first stop on their latest tour, the four members of the Australian music group The Seekers recall in flashback the origins of the group and their rise to success.

An early short film by Peter Weir, produced between 1967 and 1968 for a Channel Seven staff revue and later screened in underground film programs.

An early short film directed by Peter Weir in 1968, centered on the life of a bird enthusiast who becomes a Christian evangelist, and described in archival sources as a surrealistic documentary.

An advertising film with a difference: Into a strange computerised future where women “run things” by controlling huge colourful computers that go bleep booble bob bob ping etc, comes Yockoo, the boy from the bush, with his satchel of dried fruits. Slowly the women overcome their cold, futuristic ways in light of Yockoo’s size, shape and overall manliness. Eventually they unearth their deep feminine sexuality and cook Yockoo a feast of dried fruit dishes using cooking utensils from their local museum.

Shot with a big cowboy nod to the Western genre, this road safety film shows the danger of speeding on an unknown country road at night.

A lively succession of breasts are animated to the Fugs’ title hit.

This Australian television musical follows Mr. Maloon, a traveler on a heavily laden green bicycle, as he passes through a series of stylized communities, encountering the mayors of three distinct worlds—mediaeval, futuristic, and 1930s-inspired—whose lives are unsettled by his presence.

“Burlesqueing western conventions, this film has silent movie titles and music and a posse of shetland ponies. A gumnut satire of Westerns with a fine eye for the absurd.” (The Australian Filmmakers Co-operatives Catalogue of Independent Film)