Brian Welsh injects this coming of age tale, set against the last hurrah of Scotland’s rave scene, with visual energy and electric nostalgia.
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Review: The Souvenir
Joanna Hogg’s fragmentary portrait of an emotionally abusive relationship is both painful and distancing.
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Taking Back the Culture: An Interview with And Then We Danced’s Levan Akin
Claire 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.
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Review: Sequin in a Blue Room
A high schooler navigates the world of queer online dating in this hypnotic coming of age tale.
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Getting a Kick Out of It: An Interview with Iron Fists and Kung Fu Kicks’ Veronica Fury
At 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”.
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Review: The Wild Goose Lake
Diao Yi’nan’s expressively shot Chinese neon-noir is a pointless exercise in hard-boiled posturing.
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Review: Hotel By The River
Two occupants reflect on their pasts in a sleepy, snow-side hotel in this gentle, even-handed entry into Hang Sang-soo’s oeuvre.
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And Then We Danced: A Facebook Chat
Claire White and George Kapaklis reflect on the highlights of a tender, queer love story set in Georgia.
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#Big Truths: An Interview with Rolf de Heer
André Shannon speaks to Rolf de Heer about environmental filmmaking ahead of The Waiting Room’s VR premiere at the Melbourne International Film Festival.
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Review: Present.Perfect.
Shengze Zhu foregrounds humanism in this pensive internet-age documentary about streaming and voyeurism.
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Review: The Day Shall Come
Chris Morris targets American intelligence with acid-laced humour in this off-kilter, spitfire satire.
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Review: In Fabric
Peter Strickland’s killer dress movie wears its influences proudly on its sleeve, but its competing stories are sloppily stitched together.
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Baby, or The Politics of Performance and Pain
Kai Perrignon challenges the state of political art in the age of cancel culture.
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Review: Beanpole
Kantemir Balagov’s sophomore feature hangs heavy with the maternal emptiness of post-war Russia.
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Review: The Invisible Life of Eurídice Gusmão
The colours, the colours, the colours.
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Review: House of Hummingbird
This languid, slice of life portrait feels like a memory deep inside.
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Review: The Grand Bizarre
Jodie Mack’s experimental quilt of sound and colour gives “life and agency” to inanimate fabric.
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Notes on Band Camp: An Interview with No Time For Quiet’s Hylton Shaw
Eliza Janssen talks to co-director Hylton Shaw about her rowdy teen rockumentary, the brutal truth of post-camp blues, and safe spaces ahead of the film’s world premiere at the Melbourne International Film Festival.
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Melbourne International Film Festival 2019: Top Picks
The Rough Cut team pick out the weird, the compelling, and the essential out of this year’s 375-strong MIFF catalogue.
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