Australia
Alex Lines reports from MIFF 2020 with three films: Last and First Men, Anne at 13,000 FT, and Dark City Beneath the Beat.
Overall, Blood Vessel isn’t going to change horror forever, but it is entertaining, especially the first hour.
Black Water: Abyss starts strong in its horror, but too quickly, the film devolves into a story of drama with a background of splashing water.
Stateless sadly ends up robbing itself of an opportunity to be a show that is truly remarkable and also important.
We attend a roundtable with director Natalie Erika James, cast members Robyn Nevin, Emily Mortimer, and Bella Heathcote to dive deeper into Relic.
We spoke with Joshua Lee, director of the Australian documentary, The Fathering Project.
The Fathering Project turns passion into poetry in the pursuit of finding what it means to be a father in today’s society.
Alex Lines spoke for director Natalie Erika James about her directorial debut Relic, the process of co-writing the script and influences.
Relic, through a deliciously brilliant depiction, personifies and tackles the social and familial issues surrounding dementia.
Fisherman’s Friends eagerly invites its audience in and provides a worthwhile and heartwarming story that will have you humming along.
Proving that history is still relevant to the present, The Great is a unique period drama that is part entertaining, brutal, and raunchy all at once.
A stellar debut packed with poignant performances, the beautiful Babyteeth announces Shannon Murphy as a director who deserves our full attention.
Carmentis never runs out of ways to use the subversive potential of the sci-fi genre to articulate the loneliness and disorientation that haunt the film’s main character.
Even if audiences choose to return, will the festivals be there for them, or will we see a paradigmatic shift to these industry events lodging themselves online permanently?
We spoke with Sydney South African Film Festival director Claire Jankelson about the fest’s lineup, the distinctive qualities of South African cinema and how the festival has reinvented itself within COVID-19 restrictions.