Bonnie is an award-winning cinematographer who works across drama, documentary, commercials and video art. Her unique talent expresses itself in a boldly poetic and emotionally resonant aesthetic. She is a brilliant collaborator and works intensively with the Director to realize a vision for the screen.
Bonnie’s work has screened at major International film festivals, including Cannes, Berlin, Venice, Toronto, Tribeca, Sydney & Melbourne. She has received recognition for her work from the Australian Cinematographer’s Society on numerous occasions.
Her most recent projects include the TV series ROMPER STOMPER, 2017, a major hit for streaming service STAN; and the acclaimed, multi-award winning SEVEN TYPES OF AMBIGUITY, 2016, a six-part series for Matchbox Pictures/NBCU/ABC, directed by Glendyn Ivin, Matt Saville and Ana Kokkinos. For this she won an AACTA Award for Best Cinematography, becoming the first female cinematographer ever to win this award.
Bonnie shot her debut feature film in Iran. MY TEHRAN FOR SALE, directed by Granaz Moussavi, premiered at the 2009 Adelaide Film Festival, and screened at international film festivals including Toronto, Pusan and Rotterdam. Other feature films quickly followed, including Zak Hilditch’s much heralded debut, THESE FINAL HOURS, selected for Director’s Fortnight, Cannes, 2014; and Kulikar Sotho’s THE LAST REEL, set in Cambodia and winner of the Spirit of Asia Award at the 2014 Tokyo Film Festival.
She worked with indigenous choreographer/director Stephen Page on SAND, a chapter of the Tim Winton adaptation of THE TURNING, which screened at the 2015 Berlinale, and continued this successful collaboration on SPEAR, a visually stunning film story told through movement and dance, which premiered at the Toronto and Adelaide film festivals in 2015.
In 2017, she shot Miranda Nation’s debut feature, UNDERTOW, which premiered at the 2018 Melbourne International Film Festival; and Partho Sen-Gupta’s SLAM, which premiered at the 2019 Sydney Film Festival. In 2018, Bonnie shot Rachel Ward’s PALM BEACH which opened the 2019 Sydney Film Festival and director John Sheedy’s debut feature H IS FOR HAPPINESS which will premier at the 2019 Melbourne Film Festival.
Prior to her most recent TV credits, Bonnie shot HUNTERS for Matchbox/Universal Cable Productions, from Executive Producers Gale Ann Hurd and Natalie Chaidez. She has also shot Second Unit on prestigious television series including THE SLAP, PUBERTY BLUES, OFFSPRING, and DEVIL’S PLAYGROUND.
In the field of video art, Bonnie has worked with video artist Angelica Mesiti for many years, photographing RAPTURE, winner of the Blake prize, and CITIZENS BAND, which won the Anne Landa Award. Recent collaborations include the inaugural Ian Potter Moving Image commission for ACMI – THE CALLING – a three channel installation shot on location in Greece, Turkey and the Canary Islands and MOTHER TONGUE, a multiscreen work commissioned for the European Capital of Culture Porgram in Aarhus, Denmark. Their next project is the Australian Pavilion of the 2019 Venice Biennale.
Working across a range of documentary projects from observational to highly stylized, Bonnie’s documentary credits include LANI’S STORY, RECIPE FOR MURDER, A LIFE EXPOSED, two episodes of Matchbox Pictures ANATOMY ARTS SERIES: EYE AND HAIR, and time-lapse and landscape photography for SBS series FIRST CONTACT, and Meryl Tankard’s moving portrait of a dancer, MICHELLE’S STORY.
- Client Type: Directors of Photography
- Email Agent
- STATELESS receiving a wonderful write-up in SMH. Congratulations BONNIE ELLIOT and JOCELYN MOORHOUSE
- Palm Beach hits cinemas
- H is for Happiness Trailer
- Bonnie Elliott is going to the Venice Bienalle!
- AACTA’s Announced
- Miranda Nation’s UNDERTOW to begins shooting in Geelong next month
- Congratulations 2016 ACS State Award Winners!
- 2016 AACTA Award Nominees
- Radio Adelaide interviews Bonnie Elliott
- CINEMATOGRAPHER BONNIE ELLIOTT’S FILM SPEAR REVIEW FROM 2015 TORONTO INTERNATIONAL FILM FESTIVAL
- CONGRATULATIONS BONNIE ELLIOTT!
- THESE FINAL HOURS TO SCREEN AT CANNES