Elroy Rosenberg reflects on the troubling MIFF documentary about Björn Andrésen’s life as an object of aesthetic attraction — and then pity.
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Elroy Rosenberg reflects on the troubling MIFF documentary about Björn Andrésen’s life as an object of aesthetic attraction — and then pity.
Read moreEmma Dante’s unconventional Sicily-set drama poignantly captures, over decades, the mourning between sisters after a tragic accident.
Read moreYou might be sick of video calls by now, but ‘Language Lessons’ celebrates their awkward and intimate power to connect us.
Read moreMark Cousins’ gargantuan series on female directors is captivating and aspirational from every one of its 14 hours.
Read moreIt may be a meaningful step forward for Australian queer cinema, but this lesbian teen rom-com offers little outside of representation.
Read moreFilmed in 1967 and reconstructed in 2020, Matilda Alexander ponders Raúl Ruiz’s Chilean cinépoem, which brims with visionary ambition.
Read morePablo Larraín’s latest film is a metaphysical exploration that gives into the domination, submission and total openness of the senses.
Read moreKelly Reichardt’s quiet film offers examples of kindness amongst the exploited.
Read moreThere are no simple truths in this bittersweet, confronting film of a delinquent Polish youth masquerading as a Catholic priest.
Read moreEmma Seligman’s debut feature is an affecting examination of the pressures, anxieties and insecurities of young womanhood.
Read moreMatilda Dorman deciphers the hollow political and social resonances that lie with a quasi-fictional film about a bar on closing night.
Read moreShalini Kantayya’s documentary is a methodical look at facial recognition algorithms which avoids being by-the-numbers.
Read moreThis slow-burning Guatemalan ghost story deals with heavy questions about complicity and justice.
Read moreIn this year’s impressive Animated Shorts line-up, three films elevate the mundane through style and tone.
Read moreIn this year’s heavy-hitting International Shorts line-up, three women-centric films stand out, exploring separate facets of female isolation.
Read moreThe repetitive imagery and near silence of Allison Chhorn’s experimental film may cause pandemic-era viewers to reflect on their own daily routines.
Read moreBrian Welsh injects this coming of age tale, set against the last hurrah of Scotland’s rave scene, with visual energy and electric nostalgia.
Read moreJoanna Hogg’s fragmentary portrait of an emotionally abusive relationship is both painful and distancing.
Read moreClaire White speaks to And Then We Danced director Levan Akin about same-sex desire, claiming a traditional culture for your own, and the queering of John Hughes.
Read moreA high schooler navigates the world of queer online dating in this hypnotic coming of age tale.
Read moreAt the Melbourne International Film Festival, Hunter Keeble talks with producer Veronica Fury about what makes an engaging documentary, the cultural impact of martial arts cinema, and the future of “films about films”.
Read moreDiao Yi’nan’s expressively shot Chinese neon-noir is a pointless exercise in hard-boiled posturing.
Read moreTwo occupants reflect on their pasts in a sleepy, snow-side hotel in this gentle, even-handed entry into Hang Sang-soo’s oeuvre.
Read moreClaire White and George Kapaklis reflect on the highlights of a tender, queer love story set in Georgia.
Read moreAndré Shannon speaks to Rolf de Heer about environmental filmmaking ahead of The Waiting Room’s VR premiere at the Melbourne International Film Festival.
Read moreShengze Zhu foregrounds humanism in this pensive internet-age documentary about streaming and voyeurism.
Read moreChris Morris targets American intelligence with acid-laced humour in this off-kilter, spitfire satire.
Read morePeter Strickland’s killer dress movie wears its influences proudly on its sleeve, but its competing stories are sloppily stitched together.
Read moreKai Perrignon challenges the state of political art in the age of cancel culture.
Read moreKantemir Balagov’s sophomore feature hangs heavy with the maternal emptiness of post-war Russia.
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