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

Sunday Too Far, a renowned tale about male culture and commitment in a 1950s shearing shed, was the first huge hit of Australia's golden age of cinema but Americans were especially dumbfounded by it, producer Matt keeps in mind.

"They acknowledged that Sunday was an excellent film but they didn't understand it," he states.

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

But French audiences were far more inviting of the movie at Cannes Directors Fortnight, thanks to the spouse of an Adelaide vehicle dealership who 'd offered Carroll a Peugeot.

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

"I remember being in the movie theater and the very first thing that comes up is somebody in the shearing shed says 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 whole audience simply went crazy, definitely crazy, and we got a substantial sale to France", Carroll laughs.

"It's the language of the bush," describes legendary Australian actor Jack Thompson, who represented the hard-drinking gun shearer, Foley.

"There's a fantastic camaraderie revealed in that film. Sunday states something far more extensive about the Australian character than a number of other motion pictures that examined our victories and failures."

Thompson, who left home at 14 to work as a jackaroo in the NT, states "it was like a diary, it was just how individuals behaved - I keep in mind, because as a teenager, I remained in those sheds.

"Sunday Too Far has a truly fundamental part in my career and in my memory