From outback WA to Flickerfest: Myles Pollard unearths a convict legacy in Inheritance
Flickerfest is set to return in 2026 for its 35th year, with award-winning director Myles Pollard set to showcase his new film, Inheritance, on the big screen. Inheritance follows John Barker, a man fresh out of prison, who returns home to his dying grandfather only to inherit an old boat, the family dog and a convict legacy. Inheritance plays as part of Flickerfest 2026 at Luna Outdoor Leederville from Thursday, February 19, to Saturday, February 21, with tickets on sale now. BRAYDEN EDWARDS sat down with Myles Pollard to find out more about Inheritance hitting Flickerfest in 2026, the uniqueness of short films, and growing up in WA.
Congratulations on having your new film, Inheritance, selected to be part of Flickerfest’s 2026 program! How long has this film been in the works for, and how does it feel to finally be seeing it on the big screen?
I’m incredibly proud to finally see it on the big screen after trying to get it made for so long. I started writing the film—originally titled Convict—back in 2005, and I think the first real draft of Inheritance landed around 2013. So it’s been a long journey, which makes this moment feel pretty special.
With a career encompassing theatre, TV shows, feature-length films and more, what do you find to be unique or special about short films?
Short films are often harder to write than features because you’ve got far less time to build character, stakes and emotion—so every line has to work harder. It’s storytelling with zero fat, which demands real precision. And with little commercial incentive, shorts tend to be a more artistic space—an opportunity for filmmakers to write from the heart.
You were born in Western Australia and spent a lot of time growing up living in remote communities across the state. What places did you live, and how do you feel that shaped your career? Do you recall when you first took an interest in acting and filmmaking?
Both my parents were teachers, so growing up we moved through remote communities across WA’s north-west in the late ’70s and early ’80s—places like Wyndham, Onslow, Karratha, Port Hedland, and even Miling in the wheatbelt. There were no mobile phones, just endless space, freedom and long days immersed in nature. That lifestyle really shaped my sense of adventure, creativity and resilience. It felt a bit like growing up inside a Tim Winton novel.
I was the youngest of three kids, so I was always performing—school plays, making people laugh, anything to hold an audience. My dad was, and still is, a huge movie buff, so weekends often meant hiring stacks of VHS tapes from the video store and watching back-to-back films in the air-conditioning on a scorching afternoon. Somewhere in that mix of storytelling, play and movies is where my love of acting and filmmaking really began.
I see boats or maritime adventures seem to feature right across your filmography, including in A Boy and His Boat, Off the Charts, and even in Inheritance, with the central character inheriting a boat from his grandfather. What do you put that down to? Has being on or in the water shaped your ideas for stories?
I’m a water sign—Scorpio—so I’ll blame the stars a little bit. But honestly, I’ve just always lived by the ocean. I’ve surfed, fished and dived most of my life, and some of my best memories are walking out across tidal reefs, camping by rivers or hanging out on remote back beaches. I’ve never been much of a sailor, but I love the romance of it all—the adventure, the solitude, the chance to disappear for a bit. Water just seems to find its way into my stories.
What was important to you when casting for this film, and how did the actors help bring the film to life?
I was looking for super naturalistic actors—lean in their process, raw and a little dangerous. No sentimentality, just honesty and a strong sense of self. Matt Nable, Travis Jeffery, Chris Haywood and Nicola Bartlett all ticked those boxes—they don’t hide behind the character; they bring themselves to it, warts and all. That kind of fearlessness is what really gave the film its life.
The film also features 2D animation. Is that something you had wanted to do for some time, and how did it come about?
I always imagined 2D animation being part of it. Years ago I saw Look Both Ways by Sarah Watt and was blown away by how emotive those small animated moments were—it showed me how powerful animation can be as a storytelling tool. I didn’t have the budget to shoot the period elements of Inheritance as live-action drama, so animation became a creative solution. I loved that it could feel scratchy, imperfect and slightly stylised—almost like fragments of memory—which really suited the historical flashbacks.
As well as being an actor yourself, you have also coached hundreds of other actors. What have been your proudest moments when seeing the achievements of your students?
For me it’s watching students learn more about themselves—seeing them walk a little taller and develop the conviction to fail without fear. Acting really forces you to self-reflect, and I get a huge amount of pride from seeing that emotional growth happen. It’s not always about bookings or big wins; it’s about confidence, courage and people discovering parts of themselves they didn’t realise were there.
What have you got coming up for the rest of 2026 and beyond? Are any more films coming out or other projects we can keep an eye out for?
I’ve got a film called Frederickstown coming out, starring Peter Rowsthorn, Travis Jeffery and myself. It was written and directed by Adam Morris, who also cast me in Frank and Frank. Label Distribution is on board for the release, and I’ve also been cast in Adam’s next film, Crushed, which is close to being financed.
I’m developing a feature thriller I’ve co-written and will direct called Paynes Find, expanding on a short film version I wrote and directed a few years back. It’s set in the barren desert salt-lake country of WA’s Murchison region—a real departure from the coastal stories I usually gravitate towards.
On stage, I’ll be performing in The Catalpa with Theatre 180—a true-story piece about the great Fenian escape from Fremantle Prison in 1876. I co-wrote the play with Stuart Halusz, and we’ll be touring it through country WA, so it’s a nice mix of screen and theatre coming up.
Inheritance plays as part of Flickerfest 2026 at Luna Outdoor Leederville from Thursday, February 19, to Saturday, February 21, 2026. Tickets are on sale now from lunapalace.com.au