"Dutch Tilt, Aussie Auteur: The Films of Rolf de Heer" is an auteur analysis of the twelve feature films directed (and mostly written and produced) by Dutch-born Australian director, Rolf de Heer. From his debut feature film after graduating from the Australian Film, Television and Radio School, the children's story about the restoration of a Tiger Moth biplane, "Tail of a Tiger" (1984) to his breakout cult sensation "Bad Boy Bubby" (1993) which "tore Venice [Film Festival] apart" to the first Aboriginal Australian language film "Ten Canoes" (2006) which scooped the pool at the Australian Film Institute awards, de Heer has consistently proven himself unpredictable. This analysis of his films, however, suggests that Australia's most innovative film-maker has a signature pre-occupation with giving a voice to marginalized, non-hyper-masculine protagonists. Demonstrating a propensity to write and direct in a European-like style, his 'Dutch tilt' is very much not Hollywood, but is nevertheless representative of a typically Australian world-view. Chapter 1. Why Rolf de Heer? Chapter 2. "Tail of a Tiger" (1984) - De Heer's first feature film. Chapter 3. "Incident at Raven's Gate" (1988): Unseen monsters. Chapter 4. "Dingo" (1991): film as jazz performance. Chapter 5. "Bad Boy Bubby" (1993): 32 visions of suburban horror. Chapter 6. "Epsilon" (1995): An overwrought eco-warning. Chapter 7. "The Quiet Room" (1996): Identifying with the inner child. Chapter 8. "Dance Me To My Song" (1997): De Heer denies auteur status. Chapter 9. "The Old Man Who Read Love Stories" (2003): An avowal of male lack. Chapter 10. "The Tracker" (2002): A Western that wasn't. Chapter 11. "Alexandra's Project" (2003): Another maternal monster. Chapter 12. "Ten Canoes" (2006): Authenticating Aboriginal Australian voices. Chapter 13. "Dr. Plonk" (2007): An eco-warning about television. Chapter 14. Conclusion: A Dutch tilt with an Aussie inflection. Notes.