The 15th German Film Fest announced its lineup, with a strong selection of both new and classic German-language cinema including films by Maren Ade, Wim Wenders and Fatih Akin.
Jonathan Demme’s exuberant concert film captures fleeting moments of intimacy embedded in a Justin Timberlake arena spectacular.
Benedict Andrews’ feature film debut is a morally complex story of unresolved childhood trauma and shifting power dynamics anchored by an inscrutable performance from Rooney Mara.
We spoke to director Sonia Kennebeck about the challenges of shooting her intimate feature debut on America’s drone warfare in the Middle East.
A personal reflection on the work of Chantal Akerman, one year on from her passing.
Alexandra Heller-Nicholas dives deep into the underseen and oft-underappreciated films of director Elaine May, whose A NEW LEAF screened at Melbourne International Film Festival this year.
In time for the Australian federal election, a new video essay from Conor Bateman on Bob Connolly and Robin Anderson’s RATS IN THE RANKS, which is 20 years old this year.
The latest film from Johan Grimonprez is more tempered than his earlier work but nonetheless is a fascinating account of how the global military-industrial complex ensures the recursive nature of modern warfare.
Even an admirable lead performance by Emily Blunt can’t make up for the lack of suspense or nuance in this GONE GIRL-esque thriller.
With haphazard plotting and characters, THE SPACE BETWEEN has little to offer beyond fetishised Italian landscapes.
Matteo Rovere’s family indie set in the world of GT racing is a pleasing drama that plays best when not over-thought.
The newest from Todd Solondz continues his penchant for funny and withering social critique with a four-part anthology of sharp, sad stories.
With a novel but perfunctory story starring Dave Franco and Emma Roberts, the directors of CATFISH continue their fascination with new media.
We speak to Oscar-winning director Michaël Dudok de Wit about his feature debut, collaborating with Studio Ghibli and finding the film’s identity.
The mediocrity and surface-level insight of ROOM FULL OF SPOONS does next to nothing for the Tommy Wiseau-directed phenomenon and its fans.
THE OTHER SIDE is Roberto Minervini’s look into the abject poverty and political dissent of rural Louisiana, with results as fascinating as they are morally murky.