Terror Nullius (2018) scrambles excerpts from canonical Australian cinema, queering it, to create a perverse political-revenge fable that unwrites Australian national mythology. The film is part political satire, part eco-horror, part road movie. Cross-referencing the ill treatment of the land’s original owners with that of refugee ‘queue jumpers’, Soda_Jerk—sisters Dominique and Dan Angeloro—mount their critique of the Australian underbelly with a sensibility so juvenile, so larrikin, and, paradoxically, so Australian. Terror Nullius was commissioned by the Australian Centre for the Moving Image, Melbourne.
The film’s wrecking-ball quality, personified by its punk disregard for copyright law, leaves no doubt about its activism, though it is through consistently imaginative editing that it goes well beyond agitprop, repopulating an official moving-image legacy with heretofore marginalised gays, feminists, and minorities.