Otto Bell’s documentary The Eagle Huntress is empowering – even if it does frequently feel staged or exaggerated for dramatic effect.
The Sense of an Ending is a commendable effort from both director and cast, yet its underwritten characters become lost in adaptation.
The stale found footage genre is revitalised with ambitious anthology film The Dark Tapes, a stunning directorial debut from Michael McQuown.
Sometimes, Forever is a stylish, incisive look at teenage sexuality, and though it’s set in the ’90s, it does much to speak to our own time.
We got a glimpse of three beautifully inventive and genuinely moving short films made by the 18 teenagers in the BFI Film Academy programme.
The Other Ripken is a short but sweet documentary about Billy Ripken, a little-known baseball player who played for the Baltimore Orioles.
Jasper Jones, Rachel Perkins’ sweet coming-of-age story about racism in a rural town, is one of the best Australian films of recent years.
At times brimming with invention and at other moments leaving you confused as to who this is for, Nine Lives doesn’t fully deliver.
Going in Style from Zach Braff is a forgettable film that stumbles through genres while seemingly wasting its timeless cast.
Gifted is grounded and gritty, on a mission to make you laugh, make you cry, make you root for the good guys while booing for the bad.
Though inspired by the erotic thrillers of the ’90s, Bad Girl ultimately fails to do anything original or exciting with its material.
As one of his final curtain calls, Limelight is a sterling reminder of Charlie Chaplin’s contributions to culture and the art of cinema.
Wilson is as gleefully profane and heart-wrenchingly tragic film, that lives up to its creator’s legacy as a storyteller.
It’s no fun to criticise an aspiring filmmaker’s low budget passion project- but when the result is as misguided as Quarries, it’s necessary.
Aquarius is a powerful character study about a woman fighting back against vulnerabilities, anchored by a fine performance from Sônia Braga.