Melbourne International Film Festival

September 18, 2024

A Patient Tempest: An Interview with ‘Some Rain Must Fall’ Director Qiu Yang

Đăng Tùng Bạch
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
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 24, 2021

‘The Most Beautiful Boy In The World’ is a Pornography of Suffering

Elroy Rosenberg
August 22, 2021

Review: ‘The Macaluso Sisters’ Paints the Slow Passage of Grief

Zoë Almeida Goodall
August 21, 2021

Review: Enriching Connection in ‘Language Lessons’

Charlotte Daraio
August 24, 2020

Review: Death, Lesbians, and Disappointment in ‘Ellie & Abbie (& Ellie’s Dead Aunt)’

Jamie Tram
August 20, 2020

‘Ema’ and the Explosive Composite of the Dance Film

Claire Cao
August 18, 2020

Lessons in Tenderness from ‘First Cow’

Ivana Brehas
August 15, 2020

Review: ‘Corpus Christi’ is a Clear-Eyed Drama about Faith and Fraud

Zoë Almeida Goodall