Breaking Plates
LOGLINE
A raucous documentary about the not so silent women of the silent film era, ‘Breaking Plates’ defiantly asserts the principle that if we want to tell different stories, we have to tell stories differently.
SYNOPSIS
Move aside Wonder Woman. Drop the pretence, Doris Day. The film images that confine women to a ‘realistic’ role as housewife, nag, babe, or bitch have defined us for too long. Especially because in early cinema, before narrative conventions were ironclad, there were so many more ways to behave. For decades, movies were made almost exclusively by men in Europe and the USA after 1925. So, the slapstick comediennes and cross-dressed cowgirls of early cinema, who were wild, powerful, rude, funny, and utterly out of male control, got forgotten, or worse, erased. ‘Breaking Plates’ collaborates with the curators of ‘Cinema’s First Nasty Women’ to bring them back into view. ‘Breaking Plates’ puts early films on the screen and then we talk to the characters in them, re-animate their antics, emulate their mayhem moves. As we wear their clothes and battle their haywire machines, exploding gags, and eruptive bodies, we learn to wield humour as a weapon against the structures that contain us.
ADVANCE QUOTES ABOUT ‘BREAKING PLATES’:
“There are some amazing, never seen before, never tried before, things in the film. Bravo!” Alan Berliner, award-winning documentary filmmaker (‘Letter to the Editor’, ‘Wide Awake’, ‘The Sweetest Sound’)
“Utterly…utterly fascinating. My head is reeling! You are onto something extraordinary here. …Production values, choreography, performance. All of it! And best of all, revisiting those not so silent women of the silent era.” Sue Maslin, OA, multi-award-winning producer (‘Brazen Hussies;, ‘The Dressmaker’, ‘Hunt Angels’, ‘Japanese Story’)
“A complete joy, ‘Breaking Plates’ is an interrogative, celebratory, and cheekily riotous exploration of women and cinema.” Bill Mousoulis (‘My Darling in Stirling’, ‘Songs of Revolution’, ‘Wild and Precious’, ‘Desire’)
ABOUT THE SILENT FILM CLIPS:
‘Breaking Plates’ is an international collaboration with the curators of the ground-breaking four DVD/Blu-Ray set ‘Cinema’s First Nasty Women’. The rambunctious 99 films that inspired ‘Breaking Plates’ were made between 1896 to 1926 and brought together by Maggie Hennefeld, Laura Horak and Elif Rongen-Kaynakçi into a collection ‘The New York Times’ describes as:
“A mind-expanding endeavor … a triumph … These are not the polite, weak sisters of cinema — there’s a lot of muscle and mischief to go with those long skirts!” Manohla Dargis, ‘The New York Times’, 19 August, 2022.
Karen Pearlman is the director of ‘An Editor’s Anthology’, a trilogy of short films about historical women editors. Between them, these films, which reclaim and recognise the creative work of historical women filmmakers, have won 34 highly competitive national and international awards from peak industry bodies and film festivals, including 3 for best editing, 3 for best directing and 6 for best documentary. Her 2020 film, ‘I want to make a film about women’, was longlisted for an Oscar and nominated for an Australian Academy Award. The special jury prize citation from the Sebastopol Documentary Film Festival reads: “a film of innovative brilliance, celebrating the inexhaustible, essential tenacity of suppressed artists everywhere”. Her 2023 film, ‘Impossible Image’, which puts 21st century filmmakers into a conversation with the creative agency of women in silent screen, has been presented at over 35 international film festivals, winning 2 prizes for best documentary and 1 for best screendance. Her 2024 film, ‘Breaking Plates’, won Best Short Documentary at the 2025 Antenna Documentary Film Festival and the Platinum Remi Award for Experimental Film and Video Art at the 2025 WorldFest-Houston International Film Festival.
Karen is the author of ‘Shirley Clarke, Thinking through Movement’ (Edinburgh University Press), and the widely used textbook on editing, ‘Cutting Rhythms’ (Focal Press), now in its 3rd edition and with translations into Chinese, Korean, Arabic and Turkish. Her work has reached audiences of over one million people through collaboratively made research YouTube videos called ‘The Science of Editing’. Karen is a director, with Richard James Allen, of The Physical TV Company, whose documentary, drama, and dance films have been broadcast on ABC and SBS-TV, screened at more than 500 film festivals on six continents, garnering well over 100 awards or nominations, and added to the collections of 10 major film archives around the world.
“Breaking Plates’ was inspired by the creative mayhem and wild physicality of ‘Cinema’s First Nasty Women’, a collection of “more than fourteen hours of rarely-seen silent films about feminist protest, slapstick rebellion, and suggestive gender play.” The energy and freshness of this visionary collection is a challenge from the women of the past to women of the present to take charge of our stories the way they took charge of theirs.
I began scripting ‘Breaking Plates’ by drawing on the clips of protest and revolution that are everywhere in the ‘Cinema’s First Nasty Women’ collection. My collaborators were startled and energised by these clips. They wanted to know: How did these women disappear from cinema history? And what could we learn from them? The revolutionary creativity of the distant past was storming its way into our present. We could almost hear the women of silent screen saying: ‘Move aside Wonder Woman. Drop the pretence, Doris Day. The film images that confine women to ‘realistic’ roles as housewife, nag, babe, or bitch have defined us for too long. There are so many more ways to behave!’ The slapstick comediennes and cross-dressed cowgirls of early cinema were wild, powerful, rude, funny, and utterly out of male control. So ‘Breaking Plates’ collaborates with them to tell their story differently and, in so doing, we re-make our own story, too.
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country |
Australia |
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runtime |
25:00 |
CREDITS
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Director |
Karen Pearlman |
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Writer |
Karen Pearlman |
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Producer |
Richard James Allen |
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Key Cast |
Violette Ayad |