When Australian New age films burst on to world cinema screens in the 1970s, sceptical audiences were initially baffled by the broad accents and peculiar colloquialisms.

Sunday Too Far, an iconic tale about male culture and loyalty in a 1950s shearing shed, was the first success of Australia’s golden age of movie theater but Americans were particularly perplexed by it, manufacturer Matt Carroll remembers.

“They acknowledged that Sunday was a great movie but they didn’t comprehend it,” he says.

“It was pretty incomprehensible to anyone who wasn’t an Australian. At American screenings, you might as well have had it in Dutch.”

But French audiences were much more inviting of the film at Cannes Directors Fortnight, thanks to the other half of an Adelaide vehicle dealership who ’d offered Carroll a Peugeot.

“She said, ‘oh yes darling, I understand Parisian street slang, I’ll translate everything for you (into subtitles)’,” Carroll continues.

“I keep in mind sitting in the cinema and the very first thing that turns up is someone in the shearing shed states about the squatter, ‘his shit doesn’t stink’. When it was equated, the Parisian slang for that is ‘he farts above his asshole’.”

In the big screening space, “the entire audience just went nuts, definitely insane, and we got a substantial sale to France”, Carroll chuckles.

“It’s the language of the bush,” explains legendary Australian star Jack Thompson, who depicted the hard-drinking weapon shearer, Foley.

“There’s a fantastic friendship expressed because movie. Sunday states something a lot more profound about the Australian character than a number of other motion pictures that analyzed our victories and failures.”

Thompson, who left home at 14 to work as a jackaroo in the NT, states “it was like a journal, it was just how people behaved - I keep in mind, due to the fact that as a teenager, I remained in those sheds.

“Sunday Too Far has an actually important part in my career and in my memory