In the vibrant heart of Darwin’s creative scene, Libby Collins is forging a path that is both unapologetically local and fiercely future-focused. As a Tiwi woman, a dynamic filmmaker, and an in-demand producer, Collins is fast becoming a leading force in telling stories that honour First Nations perspectives while meeting the demands of contemporary screen audiences.
Her most recent work as Co-Producer on Top End Bub — the Prime Video series starring Miranda Tapsell and Gwilym Lee — has cemented her reputation as a formidable creative force in the Territory and beyond.
For Collins, the series wasn’t just about delivering a high-calibre television product — it was about embedding community knowledge and lived experience into the DNA of the show.
“I love being home, in Darwin and being able to do the work that I do, and to bring that to my other home on the Tiwi Islands is even better. There’s real power and importance in representation for our mob — not just in what you see on screen, but in how a production is run, who’s in the room, and who gets the opportunity to lead.”
Libby Collins
That ethos runs through all of Collins’ work — from studio series to intimate documentaries. As the resident Producer and Director at Indigenous-led production house GARUWA from 2022 to 2024, Collins curated and led a slate of powerful short-form projects that explored issues of identity, justice, intergenerational strength, and mental health.
Her directorial credits at Indigenous production company GARUWA include The Last Post, the RUOK? Stronger Together series, and Break the Cycle, a moving animated short that speaks to cycles of trauma and recovery in community. She also directed three episodes of FARE – Voices of Change, capturing personal stories from respected First Nations leaders such as Helen Fejo-Frith, Joshua Poulson, and Eymardt Tungatalum.
Beyond directing, Collins has played pivotal producing roles on works like Bilawara Lee: YES23, and Indigitek – Yarralin School, a STEAM-focused education initiative filmed in one of the most remote communities in Australia.
“Storytelling is a strong part of our culture, so to apply that into career context is pretty epic. It’s about truth-telling, it’s about legacy, and it’s about ensuring our people see themselves in every part of the process — in front of and behind the camera. That’s what I strive for.”
Libby Collins
That commitment to empowering First Nations voices also sees Collins taking on key creative and logistical roles in large-scale events. She’s worked on the Amazon Music Showcase – LOUD BLAK AND DEADLY (which has featured artists like Barkaa, Miss Kannina, Kobie Dee and Jessica Mauboy) and served as a Producer for the National Indigenous Music Awards in 2023 and 2025. These events not only celebrate Indigenous excellence — they bring new audiences into the conversation and create vital economic and creative pathways for First Nations artists.
Earlier in her career, Collins served as Production Manager (Tiwi Islands) on the acclaimed feature film Top End Wedding, again collaborating with Miranda Tapsell. That project was her first major step into feature film production and gave her a front-row seat to the possibilities — and challenges — of delivering large-scale screen stories from remote locations.
Between high-profile screen work and grassroots storytelling, Collins’ diverse slate reveals a producer who can operate with dexterity across scale, genre, and format — all while maintaining a deeply rooted connection to Country and community.
Her talent has also been recognised at a national level. Collins was recently selected for Screen Australia’s Proper Loved Up initiative — a tailored program designed to deepen producing skills through a series of masterclasses and development sessions with leading screen professionals. The initiative reflects a growing investment in emerging producers who are reshaping the industry, and Collins’ selection is a strong endorsement of her vision, capability and leadership.
“I’m not keen on ticking boxes. I want to create real, structural opportunities for mob — whether that’s by creating jobs on set, directing community stories with care, or mentoring anyone that wants it. That’s a big responsibility, it’s a slow burn but I’m here for it – I would hope that the industry is here for it too.”
Libby Collins
Looking ahead, Collins continues to shape a career that prioritises both cultural integrity and industry innovation. Her involvement in documentary series like First Inventors (a Channel 10 and NITV co-production) demonstrates her ability to collaborate with broadcasters on projects that centre Indigenous knowledge systems and reframe national narratives.
For many, Collins represents the next generation of Australian screen leaders — practitioners who are shifting the paradigm of what’s possible, and who it’s possible for. She’s not just producing content — she’s producing change.
And as the national and international appetite for authentic First Nations storytelling continues to grow, one thing is clear: Libby Collins is a name we’ll be seeing — and hearing — much more of.