An old woman is pushed in a wheelchair by her Aboriginal daughter (Marcia Langton) along a trail lined with rocks. They come to a stop by an outside toilet. The Aboriginal woman waits.

A man tells his daughter he is going to the pub. Melanie (Alyssa McClelland) is waiting for her friends to pick her up and take her to the dance. A car pulls up.

A mother sits holding her daughter, cradling her on her lap. A soft light falls over them. Beyond the light is darkness.

A pair of frail, gnarled feet. The Aboriginal daughter (Marcia Langton) on her hands and knees, gently washes her white mother’s arthritic feet.

Lena (Jamilla Frail) and Vaughn (Luke Carroll) walking on the road. A car pulls up. Vaughn talks to the driver, his friend (Allan Campbell). Lena stands a little distant, disinterested.

A long dirt road stretches ahead. A watch is held up. Lena (Jamilla Frail) is walking ahead of Vaughn (Luke Carroll). Vaughn on crutches wants to stop because it hurts. Lena doesn’t want to stop.

Melanie (Alyssa McClelland) is in the back of the vehicle as it speeds along the road.

The three – Melanie (Alyssa McClelland), Elvis (Luke Carroll) and Perry (Jie Pittman) – are holed up in an old house. Perry and Elvis are playing cards and banter between themselves.

In a montage of footage from 1970s feminist films, interlaced by narration and music, the clip proposes the notion of a new sisterhood. Summary by Adrienne Parr.

Using still photographs, personal narration, quoted correspondence and music, the mid-20th century history of the maternal side of the filmmaker’s family is detailed.