The latest incarnation of the great ape balances retro social commentary with delirious monster movie thrills.
Ingrid Jungermann’s Women Who Kill is an entertaining and droll comedic thriller.
Asghar Farhadi’s Oscar-winning drama is another of his knife-edge emotional thrillers—and a fascinating companion to Paul Verhoeven’s Elle.
Kiyoshi Kurosawa’s first international co-production is a ravishing affair.
The second coming of Trainspotting is a superfan-only affair, an inert nostalgia trip where the gang gets back together to do very little of note.
In this feature piece Jessica McGoff writes on the state of video essay criticism, which often neglects to consider in depth the impact that house rules of platforms and publications have on the work of video essayists.
Kirsten Johnson’s documentary collage Cameraperson is one of the most interesting non-fiction works to hit Australian screens in years. We spoke to Johnson ahead of the film’s run at ACMI in Melbourne.
Eloise Ross reviews Luca Guadagnino’s latest portrait of desire, told with the filmmaker’s unique and detailed attention to place.
Hidden Figures is an entertaining and compelling film centered on a mostly overlooked piece of history, one which acts as a nexus point for the civil rights movement and the Cold War.
2016 proved to be a turbulent year for video essayists. In this feature piece Conor Bateman writes about the impact social media has had on the form.