the lowdown...


Director, Writer, Producer

Iqbal is a natural and prolific storyteller, reflecting the plurality of identity and story-telling cultures in Singapore where he grew up. Iqbal has over 15 years’ experience in directing both film and theatre, where his career began. In Singapore he founded a successful company – Gung Ho Theatre Ensemble, where he directed and produced over 90 plays. Political pressure by the government forced Iqbal to shut the theatre down.

Iqbal moved to Australia in 1996, by which time he was already making films and had shifted his career focus to writing and directing for film. He then founded Filigree Films in Sydney in 2000 and went on to create many films in education, youth issues and health across Australia.

Iqbal is an author of Screen Media Arts, a tertiary teaching text. It is published by Oxford University Press and includes an instructional DVD on film making techniques. In 2014 Iqbal completed his Phd at the University of Western Sydney.

MORTARS is his second feature film.

Publications – Books
Cohen, H.,. Salazar, J., Barkat, I., Screen Media Arts: An Introduction to Concepts and Practices, Oxford University Press, Melbourne (2009).

Screen Media Arts was the winner of the Australian Educational Publishing Award  Tertiary (Wholly Australian) Teaching and Learning category 2009. The judges commented that the text was “a contemporary analysis of the field, with a great repository of different media types to assist student learning and to expose them to the working of the media industry. The excellent ‘live’ scenarios on the accompanying DVD integrate well with the text, and the learning experience of the students.”

IMDB Profile





Cinematographer, Editor, Producer

Vincent is first and foremost a cinematographer. He is a full member of the Australian Cinematographer’s Society. MORTARS is Vincent’s second feature film; the first was DUSK. He has since shot two other features: RIZ an official selection at the 62nd Sydney Film Festival in 2015, and SACRED HEART.

Vincent acquired his skills as a cinematographer without any formal training. He had a deep interest in filmmaking, and learnt from books and from watching films shot by his favourite cinematographers (some of whom include Vittorio Storaro, Slawomir Idziak and Sven Nykvist) and by analysing their methods.

Vincent began shooting films whilst working in his previous career as a barrister in Singapore, during which he won a landmark case that became front-page news. Vincent left the legal profession to work solely as a filmmaker and moved to Australia.

Vincent has shot on all formats, his early experiences and first feature being with 35mm film, and later 16mm for many short films. He now works solely with digital cameras but hopes for the opportunity to shoot on film again.

Working as a cinematographer for over fifteen years, Vincent has honed his observation of story. It was natural that he became an editor in 2002.

Outside of his work with Filigree, Vincent has collaborated on other films including:
LIGHT, by Kosta Nikas which won Best Experimental Film at LA Shorts Festival 2011. LIGHT was later purchased for distribution by a German TV network. Vincent was cinematographer, editor and associate producer. 

30½, a short by director Phoenix Liu, won Best Original Score at the Los Angeles festival “Asians On Film” 2012; won Best Foreign Romantic-Drama and was nominated for Best Cinematography at Indie Gathering International Film Festival 2013. 30½ was an official selection at Sydney’s “World Of Women’s Cinema” film festival 2013. It received an Award Of Merit from California’s “The Accolade Competition” in 2013.

MOTHER’S DAY, also by Kosta Nikas in 2012, was selected for Canada’s Edmonton International Film Festival and the Sydney Intercultural Film Festival.

IMDB Profile







Natalie joined Filigree Films in 2011, soon after graduating from the Australian Film TV and Radio School (Graduate Certificate Film Producing).

For Filigree, Natalie has produced four short films – HANNAH’S ZOMBIE, LAST TESTAMENT, WATER VESSEL and WHY DO YOU WANT TO SEE MY FACE?.

In 2013 she collaborated with Karen Radzyner of Dragonet Films on HANDYMAN (writer/director Sonia Whiteman), which was selected for Flicker Fest 2014.

Working with Jad Haber of SSS Productions, Natalie was producer of the music video GOOD CLEAN FUN for artist James Reyne (ex-Australian Crawl). It won Best Australian Pop Music Video at the 2013 Australian Independent Music Video Awards, Canberra; and was a nominee in the Australian Directors Guild Awards 2013 for best director of a music video.

Natalie’s background is in music and financial services. She was previously a senior client manager and writer/researcher at Aberdeen Asset Management, and AMP Private Capital and before this worked for several years at Amnesty International Australia as assistant to the National Director. In addition to her role at Filigree, Natalie works part time as Practice Director of Emerge Financial, a ground-breaking financial advisory firm that strives to avoid conflicted remuneration by charging genuine fees for service, rather than commissions.

MORTARS is Natalie’s first feature film as producer.

IMDB Profile

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