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

Sunday Too Far Away, an iconic tale about male culture and commitment in a 1950s shearing shed, was the first success of Australia's golden age of cinema but Americans were especially bewildered by it, producer Matt Carroll keeps in mind.

"They identified that Sunday was a great film however they didn't understand it," he states.

"It was quite incomprehensible to anyone who wasn't an Australian. At American screenings, you may also have had it in Dutch."

But French audiences were far more welcoming of the film at Cannes Directors Fortnight, thanks to the wife of an Adelaide car dealer who 'd sold Carroll a Peugeot.

"She stated, 'oh yes darling, I know Parisian street slang, I'll equate all of it for you (into subtitles)'," Carroll continues.

"I keep in mind being in the movie theater and the first thing that turns up is somebody in the shearing shed says about the squatter, 'his shit does not stink'. When it was equated, the Parisian slang for that is 'he farts above his asshole'."

In the huge screening room, "the entire audience simply went nuts, absolutely insane, and we got a big sale to France", Carroll chuckles.

"It's the language of the bush," discusses legendary Australian star Jack Thompson, who depicted the hard-drinking weapon shearer, Foley.

"There's a terrific friendship expressed in that movie. Sunday states something far more extensive about the Australian character than a number of other films that examined our success and failures."

Thompson, who left home at 14 to work as a jackaroo in the NT, says "it was like a diary, 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 fundamental part in my profession and in my memory