Kate Blackmore

Intimacy coordinator Claire Warden guides actors through sex scenes on a film set, negotiating the vision of a director, the physical and psychological needs of the performers, and a documentary crew filming her every move.

Artist Kate Blackmore looks at motherhood and mobility, film and feminism through the prism of Margaret Dodd's 1982 classic short film 'This Woman is not a Car.'

These short intimate stories by artist Kate Blackmore uncover the fascinating and often eccentric collections of five Australian artists, offering a unique insight into their inspirations and obsessions.

Based on interviews given by actor Maria Schneider and director Bernardo Bertolucci about the infamous scene in Last Tango in Paris (1972).

Judith and her mother share a bond forged through their experience with an abusive man; is it strong enough to set them free?

Intimacy coordinator Claire Warden guides actors through sex scenes on a film set, negotiating the vision of a director, the physical and psychological needs of the performers, and a documentary crew filming her every move.

Intimacy coordinator Claire Warden guides actors through sex scenes on a film set, negotiating the vision of a director, the physical and psychological needs of the performers, and a documentary crew filming her every move.

Artist Kate Blackmore looks at motherhood and mobility, film and feminism through the prism of Margaret Dodd's 1982 classic short film 'This Woman is not a Car.'

Artist Kate Blackmore looks at motherhood and mobility, film and feminism through the prism of Margaret Dodd's 1982 classic short film 'This Woman is not a Car.'

These short intimate stories by artist Kate Blackmore uncover the fascinating and often eccentric collections of five Australian artists, offering a unique insight into their inspirations and obsessions.

Based on interviews given by actor Maria Schneider and director Bernardo Bertolucci about the infamous scene in Last Tango in Paris (1972).

Based on interviews given by actor Maria Schneider and director Bernardo Bertolucci about the infamous scene in Last Tango in Paris (1972).

Judith and her mother share a bond forged through their experience with an abusive man; is it strong enough to set them free?