Film Production | TV Development | Creative Mentorship | Media Literacy | Creative Education Australia

CURRENTLY IN DEVELOPMENT

MEDIA LITERACY television with a blue screen displaying a sneaker with a plant growing out of it, resembling a bouquet, against a bright pink background.
A person crouching by a river with rocky cliffs and greenery in the background, overlaid with text about purpose-driven stories and positive societal and environmental impact.
A man with messy dark hair, glasses, and wearing a black jacket is speaking at a microphone and gesturing with his hand in a room with a mural and blue wall.
A woman with long brown hair and red lipstick wearing large retro gold glasses and a colorful plaid shirt, standing in front of a microphone with a blurred background of blue walls and artwork.
A woman with dark curly hair, red lipstick, and a metallic jacket speaking into a microphone during a podcast or interview, with another person partially visible beside her.
Two women sitting at a table, with one woman talking into a microphone and the other woman adjusting her glasses. The table has books on it, and there are colorful paintings on a blue wall behind them.
A woman with dark hair and glasses looking towards the camera, with a blue wall with framed pictures behind her. She is making a peace sign with her left hand.
A smiling older man with gray hair and a beard, sitting in front of microphones, with colorful abstract artwork on a blue wall behind him.
A man with glasses and a beard, wearing a black t-shirt, sitting at a table with a microphone, in a room with a blue wall.
A middle-aged woman with curly gray hair and black glasses sitting at a table, with a blue wall behind her decorated with small framed pictures, and a microphone in front of her.
CREATIVE INDUSTRY NETWORK 🎥 📷 STORYTELLING WITH PURPOSE A woman smiling and speaking into a microphone, wearing glasses and a colorful plaid jacket, with abstract artwork on a blue wall in the background.
CREATIVE INDUSTRY NETWORK 🎥 📷 STORYTELLING WITH PURPOSE A man with spiky hair and glasses looking at the camera, sitting behind a microphone in an indoor setting with blue walls and framed documents.
A woman sitting on a woodeCREATIVE INDUSTRY NETWORK 🎥 📷 STORYTELLING WITH PURPOSE n chair holding a blue paper fan, wearing a colorful plaid dress and red boots, in a room with blue walls and abstract paintings.
CREATIVE INDUSTRY NETWORK 🎥 📷 STORYTELLING WITH PURPOSE Man in red blazer and glasses sitting at a table with a microphone, papers, and a book in front of him, in a room with blue and white walls and a plant in the background.
CREATIVE INDUSTRY NETWORK 🎥 📷 An elderly woman with gray curly hair, glasses, and a blue floral shirt is speaking into a microphone during an interview, holding a smartphone in her left hand, with another person partially visible in the foreground.
A woman with curly gray hair and glasses smiling into a microphone during a recording or interview, with colorful abstract artwork in the background.

The Creative Currency Interviews

A cultural archive project capturing the lived reality of Melbourne’s creative economy.

Through filmed conversations with inspiring creatives - the project documents the ideas, disciplines, and lived experiences that have shaped the city’s cultural landscape.

Each episode moves beyond interview into process—revealing how work is made, how collaboration functions, and how creative careers are sustained over time.

Alongside the documentary series, Creative Currency builds a publicly accessible digital archive, designed as an educational resource for students, educators and emerging practitioners. The archive captures not only outcomes, but the thinking, methods, and decision-making behind creative practice.

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A man with glasses and a beard, smiling, sits at a desk with a microphone, in front of a blue wall decorated with colorful paintings, possibly in an art gallery or studio.
STROWNIX 1
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CREATIVE CURRENCY INTERVIEWS

KOFMAN & KRONGOLD INTERVIEW

On December 15, 2025 a day marked by national tragedy -
Lee Kofman and Adam Krongold honoured their commitment to film in a basement studio in Abbotsford.

What unfolds moves beyond personal narrative into something unexpected:
a conversation shaped by reflection, grief, and a shared interrogation of what they describe as a silver lining theory.

TRIPLE AXEL INTERN PROGRAM

KRONGOLD:

“Yesterday in Sydney there was mass murder and people were killed. Jews were killed just for being Jewish on a day, on the first day of Chanukkah, which is a holiday celebrating Jews being able to be Jewish in their indigenous homeland, Israel.

So it's quite ironic, and maybe I still haven't found any silver lining in this at this point, with regard to that, because I'm still processing and still aligning, there has to be - there has to be. There will be, and there is - and that's the way I take it. I'm not imposing on anyone or anything, but it's for me. This is where I find resilience, in finding the thing, in anything, to take me to the next point and to move forward.

And being around so many creatives, I've met so many people that I wouldn't ordinarily have met. I get to engage with yourself for example.”

“And the epiphany was that for 1000s of years, the Jewish people are constantly on the run, constantly moving from one country to the other, being chased, being shot at, being killed, leaving everything behind, just carrying their words, their stories and their songs.

And with these words and stories and songs, we take our values, we take our history, we pass our values from one generation to the next, and these things we’re being taken from us now the words from our very mouths rewritten and thrown back at us like rocks.

And if we don't do something in a generation or two, a Jewish child will be born and immediately hate themselves because of a narrative change, an incorrect narrative change.”

TRIPLE AXEL CREATIVE PROGRAM
TRIPLE AXEL CREATIVE PROGRAM

“And I realise. What I CAN do - I can push back as much as I can, so Jewish creatives can be free to create. “

- Adam Krongold

Adam Krongold is a Melbourne-based angel investor and philanthropist. Co-President of the Jewish Museum of Australia and Director of COJA

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KRONGOLD

INTERVIEWS

KOFMAN

Dr Lee Kofman interviewed by Adam Krongold. Lee shares childhood illness, family dynamics and her version of the silver lining of being Jewish post October 7.

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A woman with red hair in a red sweater sitting at a table with a microphone in front of her, resting her chin on her hand, in a room decorated with colorful abstract paintings.

“I’ve been working on a story about my life for a long time, but only since October 7 have I found the framework - the structure for how to tell it.

It’s really a story of growing up—with parents who were dissidents in the Soviet Union, religious Jewish dissidents.

I’m not religious at all, but I come from a very religious, ultra-Orthodox family. I always rebelled against my parents. I left religious school when I was fourteen.

And in everything I did—in my work, in my private life—I made sure to say: I am not like my parents.

Then October 7 happened. I’d organised a WhatsApp group for Jewish creatives. We were doxxed. I was abused online. Some writing organisations wouldn’t employ me.

For more than fifteen years I was regularly employed—and then suddenly I was the ‘bad Jew,’ the one organising other Jews.

I remember being at Goldstone Gallery, talking about artists who had been excluded—spaces for dissidents—and thinking about that history.

And I had this moment—oh my God, I am like my parents.

At the moment, almost every Jewish artist who does not publicly deny their indigeneity is treated as a dissident.

And that gave me the structure.

Now I’m writing about the parallels between my parents experience and my own.”

A woman with reddish hair speaking into a microphone during a recording or broadcast, with a blue wall and a painting in the background.

Lee Kofman reflects on a paradox shaping contemporary creative life: constraint can sharpen artistic voice.

Drawing on her experience growing up under Soviet censorship, Kofman observes that periods of restriction often give rise to independent, underground forms of expression—work that is urgent, self-determined, and resistant to institutional gatekeeping.

Referencing projects such as Ruptured, an anthology of Australian Jewish women responding to the aftermath of October 7, Kofman suggests that moments of cultural pressure can produce work that is more direct, more courageous, and more necessary.

Kofman’s conclusion is simple:

Keep creating.

A tabletop with a laptop, a green highlighter, a torn book cover titled 'Ruptured,' a closed book titled 'The Winter Word,' and a glass bowl, all on a metallic surface.
Three people sitting at a table in front of colorful abstract art, with blue walls and modern lamps in the background.

An unscripted first encounter between Gwendolynne Burkin and Christopher Tovo unfolds as a study in creative memory.

Moving through Australia’s cultural landscape of the 1990s Burkin and Tovo exchange stories shaped by lineage and discipline

where reputation was earned, not performed.

What emerges is more than nostalgia.
It is a quiet reckoning with the present:

What happens to craft when visibility replaces substance - and what remains when the signal of social media begins to collapse?

A woman with long brown hair, wearing a colorful plaid dress and matching orange boots, is seated on a wooden chair holding a blue folding fan. She is in an art studio with blue walls decorated with various paintings and sculptures, sitting at a black table with two microphones and a ceramic mug.