Mani Haghighi’s latest is the rare film that has the ability to remain eerie and abstract without becoming vague or untethered, and further evidence that Iran is one of the leading national cinemas when it comes to experimenting with film genre.
José Pedro Lopes’ art-horror offers glimpses of the extraordinary, even if there is a lot of clutter.
Simon Rumley’s fashion thriller dives into the subjectivity of loss, trauma and physical sensation.
Alex Heller-Nicholas talks with author Franck Boulègue about the phenomenon of David Lynch’s Twin Peaks — and our ongoing fascination with the series.
Alexandra Heller Nicholas speaks to Samm Deighan, Kat Ellinger, and Alison Nastasi about Jean Rollin’s almost sacred oeuvre, discussing their reflections on their own experiences in relating to the director’s work as both women, cult film fans, and critics.
Alexandra Heller-Nicholas talks to author Lee Gambin, whose new book explores the 1983 adaptation of Stephen King’s Cujo.
Kiyoshi Kurosawa’s first international co-production is a ravishing affair.
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.
The feature debut of Turkish director Can Evrenol turns the corruptions of masculinity into a brutal and meaningful horror tale.
We spoke to filmmaker Anna Biller about her new film THE LOVE WITCH ahead of its Australian festival screenings, and where sits in both her body of work and cinematic feminism.