Film Reviews
Apples is a gritty, subversive take on identity, memory and grief and an outstanding first feature from Greek director Christos Nikou.
There is a rare nature and rough surface to Holler that will resonate with audiences through the need for survival, perseverance and opportunity.
Matthias & Maxime, Xavier Dolan’s most open and tender film to date, sees him reclaiming his wunderkind status as a director once again.
While it may not land as smoothly as it hopes for, what #Alive offers here is still refreshing, warranting the attention of its audience.
In our latest report from the Sheffield Doc/Fest 2020, Musanna Ahmed looks at Please Hold the Line and The Viewing Booth.
While the energy soars, I Am Woman is certainly neither the greatest musical biopic nor the most intriguing account of a musician.
Slim & I, one of the rare Australian features to sneak back into cinemas post-quarantine, delivers the history of Dusty Slim with a little cunning twist.
Rent-A-Pal succeeds in recreating its 90s aesthetic as it examines the videotape dating culture of the 1990s in this retro horror film.
Alex Lines reports from MIFF 2020 with three films: Last and First Men, Anne at 13,000 FT, and Dark City Beneath the Beat.
As one of two films representing Iran in the 77th Venice Film Festival, Ahmad Bahrami’s The Wasteland wrestles with themes of class and race.
It’s a loyal, brave, and true re-telling of a Chinese ballad that was once successfully Westernized.
Opening the historic 77th edition of the Venice Film Festival, Andrea Segre’s Molecole is a haunting meditation on virus-lockdown Venice.
The Social Dilemma is a deeply compelling treatise on why we’re so addicted to our devices while arguing the crucial need for change.
Sean Fallon brings us some of the highlights from the Melbourne International Film Festival.
Heightened by its mirroring of current events, The Hall is an incredibly exhilarating ride you won’t want to get off of.