AustLit

'Lovers on the highway, chased down by their past.

'Cole and Sky, a young couple, are driving in a classic car from the coast into the guts of the country. Cole’s father is on his deathbed and there are rumours Cole is set to inherit the earth after a life of aimlessness. They set out with unbridled enthusiasm for the road ahead; swept up in romantic dreaming and poetic ruminations amid the boundless plains. They knit new narratives for themselves; give themselves new names and identities in sync with their seemingly unanimous versions of utopia. Their newfound freedom is underscored by a long-forgotten mix tape buried deep in the glovebox, but out of the static following the final song, a pubescent voice cracks — a younger, angrier, more violent Cole and his teenage manifesto recorded to tape.

'Equal parts Mad Max: Fury Road, Thelma and Louise, and the classic films of the Ozploitation era, Horizon keeps who we are in the rear view mirror, whilst asking what it is we can see in the warping heat-distorted bitumen ahead. With a smack of Wolf Creek, a slap of Wake in Fright, and a firm grip on the true stories of those lost to the isolation of the outback, Horizon is a high-octane journey that’s over the limit, over heating and tearing right into the heart of Australia.' (Production summary)

'Heidi and her daughter are being evicted. Her brother comes to the rescue, offering to drive them to a cabin in the mountains to start afresh.

'As the scenery shifts and the mountains divide, in a series of near-identical motel rooms, Heidi battles with past addictions and paranoia. It seems there’s an unsettling ulterior motive for this trip, but will anyone take the driver’s seat to avert the danger?

'A play of mystical mountains and itchy motel rooms, charged with sexuality and secrets, The Silver Alps rips the hood off the family car and drags things lurking out from under the motel bed.'

Source: Author's website.

'Clara lives with her partner, Erik, in a clean, modern home untouched by a flood that has ravaged many parts of their town. Recently unemployed and growing fat and slovenly, her days are spent in front of the television, awash with images of disasters and destruction and programs that flaunt versions of the woman Clara could be if she tried. She is overwhelmed to the point of apathy; immobilised. Feeling so numb, she toys with Erik'’s emotions, and sends him on excursions to fetch her obscure items for a book he has obligated her to make, as if to extract some new reaction from him. She is, perhaps, trying to sabotage their comfort.

'One stormy night, Eugenie comes to the door as a Jehovah'’s Witness to speak to them about the End Days. When she is invited in to take shelter, the evening soon drips with danger, violence, and ugly truths. And Clara’'s hideous troll skin will be revealed and burst open. ' (Publisher's blurb)