• 

  September 11, 2024

  The Ghost of Howard Hawks: Dispatches from MIFF 72

  Silas Moir

• 

  September 7, 2024

  The Silence Within: An Interview with Leonardo Van Dijl

  Andrew Fraser

• 

  September 6, 2024

  Review: ‘On Becoming a Guinea Fowl’ Boldly Breaks the Silence

  Andrew Fraser

• 

  September 2, 2024

  Review: ‘I Saw the TV Glow’ Questions Whether Fandom Can Save You

  Joshua Sorensen

• 

  August 27, 2024

  ‘Janet Planet’ in Four Movements

  Tiia Kelly

• 

  August 26, 2024

  Review: ‘Secret Mall Apartment’ is a Testament to Radical Community

  Andrew Fraser

• 

  August 24, 2024

  In the Heart of the Earth: An Interview with Trương Minh Quý

  Đăng Tùng Bạch

• 

  August 23, 2024

  Queer Gestures: The Films of Stephen Cummins

  Alex Williams

• 

  August 22, 2024

  Review: Abjection, Entropy, and ‘Armand’

  Joshua Sorensen

• 

  August 21, 2024

  Review: ‘All We Imagine as Light’ is a Stunning Tale of Intimacy as Dissent

  Virat Nehru

• 

  August 17, 2024

  Monstrous Creations: 70 Years of Godzilla

  Kevin Bui

• 

  August 15, 2024

  Review: ‘Motel Destino’ is All Tease, No Climax

  Joshua Sorensen

• 

  August 12, 2024

  Film Rewrites Itself: An Interview with ‘Us and the Night’ Director Audrey Lam

  Indigo Bailey

• 

  August 8, 2024

  ‘Twisters’: A Love Story in Three Parts

  Claire White

• 

  August 7, 2024

  ‘Aggro Dr1ft’ is More Than What Burns the Retina

  Linus Wolfe Tolliday

• 

  August 2, 2024

  How ‘In a Violent Nature’ Made Me Root For a Killer

  Eliza Janssen

• 

  July 28, 2024

  At the Cinémathèque: the Well-Kept Secrets of ‘L’amour fou’

  Indigo Bailey

• 

  July 19, 2024

  Review: ‘Longlegs’ (Mostly) Earns its Hype

  Eliza Janssen

• 

  July 18, 2024

  Review: ‘Birdeater’ is an Empty Thrill Ride

  Joshua Sorensen

• 

  July 17, 2024

  Review Round-Up: Four Highlights from the Inaugural Africa Film Fest Australia

  Tiia Kelly