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A dozen years ago, the actor Marta Dusseldorp was walking along a long museum corridor in Berlin, a city that wears its horrific history on its sleeve, where bullet holes in buildings and statues immediately connect the visitor to World War II. She was trying to take in names and death and genocide and sadness.

Some 2700 concrete slabs were then being laid on a sloping field elsewhere in the city, as a memorial to the murdered Jews. On the edge of the adjacent Tiergarten, a concrete cuboid showing a film of same-sex couples kissing would later be placed and, to the park’s east, near the domed Reichstag, a memorial pool to the Sinti and Roma victims.

Last week the long-running Australian short film festival Tropfest announced that, after a tumultuous 12 months, it would be moving from Centennial Park to Parramatta Park in February. The film director and Tropfest board member George Miller welcomed the “widening” of the festival’s audience as “extremely positive” but not everybody was happy – and one Newtown-based film producer, Adam St John, said he would boycott the event.

“I won’t go to Parramatta, no way,” St John told the Daily Telegraph. “Everyone [film-makers] is based in the inner city and that’s the place they should be looking to support the emerging artists.”

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