NOTFILM explores the intricacies, tensions and relationships that surrounded the production of Samuel Beckett’s sole screenwriting effort FILM.
Lewis Klahr revels in the popular visual iconography of 1950s and 60s America, creating a moving personal engagement with an archive of images.
By sharing a sense of indignation at civil rights violations, WE’RE STILL HERE becomes more than a simple behind-the-scenes featurette on Johnny Cash’s revered album.
Travis Wilkerson’s latest experimental feature film, Machine Gun or Typewriter?, screens as part of the new Essential Independents Film Festival across Australia. During the festival run we spoke to Wilkerson about his filmmaking process, the political climate in America today, and the joys of the Korg Kaptivator.
Strong performances, cinematography and feminist sensibilities make JANE GOT A GUN worthwhile in spite of its story deficiencies.
With terrific performances from Rebecca Hall and Jason Sudeikis, TUMBLEDOWN rises above rom-com trappings to becoming a moving look at grief and the grotesque nature of celebrity.
The horror undertones and feminist revisionism of Civil War thriller THE KEEPING ROOM aren’t enough to salvage it from over-familiarity.
I SMILE BACK’s gamble on Sarah Silverman as a dramatic lead backfires, with a screenplay and direction that is too eager to capitalise on her public persona.
Travis Wilkerson’s MACHINE GUN OR TYPEWRITER? is a restless and oft-entrancing piece of agit-noir, merging the avant-garde with a well-worn narrative trope to tell a political tale with mysterious participants.
American director Anna Rose Holmer spoke to us about her debut feature THE FITS, screening at the inaugural Essential Independents festival.