Ahn Goocjin’s adaptation of the Lewis Carroll story to modern Korean soceity is a funny, expertly plotted and biting critique of its inequalities.
THITHI follows hot on the heels of COURT (SFF 2015) as a minimalist gem that uses absurdity and a non-professional cast to reveal the struggles of postcolonial India.
The directorial debut of Serbian activist/actress Mirjana Karanovic is a fascinating portrait of personal and national repression.
The latest feature-length hangout from Richard Linklater, EVERYBODY WANTS SOME!!, is a generous, congenial study on male competitiveness and the thrill of youth.
Fifteen years afters its original theatrical run, Felix Hubble pens a love letter to Tom Green’s irreverent directorial debut, the infamous FREDDY GOT FINGERED.
Reflecting on Women in Horror Month, Kate Robertson speaks with authors Alexandra Heller Nicholas and Emma Westwood about the gender politics of Dario Argento, found footage cinema, the ‘Final Girl’ and more.
FINDING DORY presents a mostly familiar narrative and doesn’t treat all its disabled characters equally, but has enough heart and technical wizardry to be worthwhile.
The latest venture from writer-director Jim Jarmusch is a joyous ramble that finds delight in the simple act of observing.
The lean new feature from Rodrigo Plá depicts violence well but can’t sustain its pseudo-political thriller conceit with enough character substance.
Despitethe impressive score and cinematography, there isn’t much to read into in THE ENDLESS RIVER due to an underdeveloped central romance and societal commentary.
TONI ERDMANN cements Maren Ade as one of the great talents in cinema today – a beautifully subtle, raucously funny film of patience and precision.
LOVESONG is an intriguing and subtle friendship drama from veteran independent director So Yong Kim.
The carefully observed documentary CINEMA, MON AMOUR is as an ode to the strength of character, determination and ingenuity of Purice, the manager of one of Romania’s few remaining state-owned cinemas.
NO HOME MOVIE is one of the director’s highest achievements; an incredibly moving portrait forged out of the painful vestiges of passing time.
We caught up with Wang Yichun at Sydney Film Festival to discuss her debut feature film, WHAT’S IN THE DARKNESS, her experiences that inspired it, and her future ideas and ambitions as a filmmaker.
Anurag Kashyap’s PSYCHO RAMAN (RAMAN RAGHAV 2.0) is as equally disturbing and violently uncouth as it is undoubtedly brilliant.