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  1. Language. English. Box office. $19,940 [1] Ellie & Abbie (& Ellie's Dead Aunt) is a 2020 AACTA award winning LGBT romance comedy film written and directed by Monica Zanetti, in her feature directorial debut. It is based on her own 2016 stage play. The film stars Sophie Hawkshaw, Zoe Terakes, Marta Dusseldorp, Rachel House, Julia Billington and ...

  2. 10 Photos. Monica Zanetti is known for Ellie & Abbie (& Ellie's Dead Aunt) (2020), Iggy & Ace (2021) and Sisters (2017). More at IMDbPro.

    • Producer, Writer, Director
    • 1 min
  3. Nov 18, 2020 · When Monica Zanetti speaks, there’s a sense of unwavering self-determination steadying her voice. It’s no doubt a trait that helped the NSW-based filmmaker make Ellie & Abbie (& Ellie’s Dead ...

    • Belinda Quinn
  4. Monica Zanetti is an award winning Australian screenwriter and director. Her debut feature Skin Deep screened at over eight international film festivals and was honoured at Austin Film Festival with an award for Best Narrative Feature. The film also earned Monica an AWGIE nomination for Best Original Screenplay, a spot on the 25 Screenwriters To Watch list by US MovieMaker Magazine, and was released internationally in 2016. Monica then went on to work in various story rooms before joining ...

  5. Dec 14, 2020 · Monica Zanetti Monica Zanetti is an award-winning Australian Screenwriter & Director.. Monica wrote and directed ELLIE & ABBIE (& ELLIE’S DEAD AUNT) which opened the 2020 Mardi Gras Film Festival; the first Australian film to do so in the history of the festival.

  6. Jun 10, 2021 · The result is intriguing and enjoyable if also gentle bordering on timid. Ellie and Abbie (and Ellie’s Dead Aunt) (2020) Written and directed by Monica Zanetti, the film benefits from engaging, sympathetic performances from Hawkshaw and Terakes, the former’s fretting and latter’s directness both convincingly rooted in varieties of ...

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  8. Nov 18, 2020 · These interesting generational dynamics of LGBTQIA+ life are the core of Monica Zanetti’s comedic coming-of-age film, which screened this week as a part of the Melbourne International Film Festival’s 68½ virtual edition as a program spotlight, its screening reserved to a lone five-hour window.