Three stories of the supernatural are recounted in this anthology. Rick, an Aboriginal boy living near a swamp on Bribie Island, is haunted by an American solider who drowned in quicksand. Ruby and her family live in a house near long-abandoned train tracks, which still carry ghostly apparitions. A landlord has trouble evicting the tenants of an old warehouse: a couple that's been dead for years

Bedevil

In ‘Love’, the subtleties of first desires to climactic scenes of impassioned dialogue and action, to betrayal, disgust and violence that have played out over the history of film are ripped from original contexts and edited into a repetitive staccato rush, regurgitating, for our entertainment, horror and critique, the stereotypical, hyperbolic trajectory of (heterosexual) love. Through this process Moffatt unites the graphic punch and suggestiveness of the still image with the satisfaction of a complete movie narrative. In the end, its only a movie.  ‘Love’ embodies Moffatt’s desire to create work that has an ‘international look’ and deal with ‘universal predicaments’. 'Love' is both parody and pastiche, critical comment, and wryly humorous.

Love

A short film about the relationship between an Aboriginal daughter and her white mother. The daughter, now the sole carer of her dying mother, dreams of far away places, the haunted look in her eyes loaded with a sense of what could have been. Famous Aboriginal singer, Jimmy Little, sings 'Royal Telephone', evoking the presence of Christianity and its role in the assimilation of Aboriginal people. The final scene sees the daughter lying in a foetal position next to her mother, crying. Assimilation, then, can be understood as a pain experienced by both the Aboriginal daughter as well as the white mother.