At India’s WAVES Film Bazaar’s Knowledge Series, Rachel Griffiths unpacked the path from her breakout as Rhonda in “Muriel’s Wedding” to a career that spans Oscar-nominated turns, prestige U.S. television and now a determined push into authorship.
In a candid conversation with producer Mitu Bhowmick Lange, Griffiths traced how a role she “chanced upon” upended her expectations of what cinema had space for, why American TV unlocked the depth she sought, and how returning to Australia — and directing “Ride Like a Girl” — became central to reclaiming her voice as a storyteller.
She shared that her iconic turn came about almost by accident. “I thought I’d be a theatre actress,” she said. “I grew up thinking cinema didn’t have a place for someone like me.” With a background in stage performance and documentary storytelling, she never expected that the quirky Australian comedy she “chanced upon” would rocket her into international film — and straight to working in England after the movie’s surprise success.
In 1998, Griffiths earned a best supporting actress nomination at the Academy Awards for her role in “Hilary and Jackie.” Her career reached a turning point when she embraced television. “I was frustrated with the breadth of roles. My manager suggested I look at TV, particularly in America, where actresses get deeper opportunities.” That shift led her to “Six Feet Under,” created by Alan Ball, which she calls one of the best scripts she ever read. The long-form format, she said, “Was thrilling – you know your character, you know the world, and you get to explore both in real depth.”
The role won her a Golden Globe and a slate of acclaimed roles followed. After more than a decade in the U.S., Griffiths chose to return home. The decision was both artistic and personal, she said. “I wanted to make sense of my own country. I wanted my kids to feel Australian.” That instinct drove her to make her direct “Ride Like a Girl,” the biopic of jockey Michelle Payne, which ended up as Australia’s highest-grossing film of 2019.
“I didn’t want to contribute to the narrative that female-led films aren’t box office,” she said. “I wanted to make a movie that a conservative grandfather could take his granddaughters to and not realize he’s watching a feminist film and be cheering for the girl at the end. I also really wanted to make a successful box office film.”
Griffiths is currently exploring an immersive theatrical project, inspired by large-scale experiences like the global Van Gogh installations. “Sometimes the budget, the audience and the impact make more sense in a completely different form,” she said.
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Griffiths ended with advice for emerging female creators: become producers, acquire IP, and trust actors’ instincts for audience connection. She also expressed strong enthusiasm for Australian-Indian collaborations, pointing to growing cultural links, shared storytelling potential and new distribution agreements.
WAVES Film Bazaar is the market component of the International Film Festival of India (IFFI), Goa.
From Variety US