Years active 1979–present Name Nadia Tass | Role Film director Spouse David Parker | |
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Occupation Director, producer, actress Awards AACTA Award for Best Film, AACTA Award for Best Direction, AACTA Awards - Byron Kennedy Award Movies Matching Jack, Pure Luck, Malcolm, Fatal Honeymoon, Samantha: An American Similar People Colin Friels, Lindy Davies, John Hargreaves, Alana De Roma, Valerie Tripp | ||
Nadia tass on the chant of jimmie blacksmith
Nadia Tass is a film director, producer and actress, originally from Florina, Macedonia, northern Greece, who moved to Australia in the 1960s. She began her career as an actress appearing in the television series Prisoner. Tass has developed into one of Australia's most respected and exceptional filmmakers with her films being responsible for twenty-three Australian Film Institute (AFI) nominations, while garnering eight wins including Best Film and Best Director. She has also directed plays in Australia including Miss Bosnia, Cosi and Summer of the Aliens.
Contents
- Nadia tass on the chant of jimmie blacksmith
- matching jack by nadia tass la premiere
- Feature films as director
- Theatre director
- References
Nadia Tass is married to fellow Australian director David Parker.
matching jack by nadia tass la premiere
Feature films as director
Theatre director
In 2016, Tass directed the Ensemble Theatre production of Jane Cafarella's e-baby. It was the Sydney premiere of the play, which was first seen at Melbourne's Chapel Off Chapel theatre in 2015. Tass described the work as "a play for today – the advances in medicine create a new world that allows new possibilities – in e-baby we enter that world and explore the raw truth, the unbridled joy and the paradox of surrogacy through a carefully woven story of love, generosity and a newborn child."< The two actors, Danielle Carter and Gabrielle Scawthorn were described as bringing "such life to their roles" and being "utterly believable – in equal parts loveable and frustrating – [so that] the heartbreak, when it comes, is visceral." The play was also praised for touching "on most of the biological, technical, ethical and legal aspects [of gestational surrogacy] in the play's 95 minutes ... without the loud sound of boxes being ticked."
