The Brazilian drama from directors Juliana Rojas and Marco Dutra works best as an engaging film about love and class, rather than the genre film it eventually becomes.
Nathaniel Kahn’s art-doc is fixated on finance but struggles to make any salient points about the development of value in art.
Sebastián Silva’s latest provocation is an exercise in alienation, following a ‘guys’ weekend’ charged with unsettling racial undertones.
The latest documentary by Véréna Paravel and Lucien Castaing-Taylor is fixated on Issei Sagawa, the infamous Japanese man who in 1981 murdered, had sex with, and cannibalised a classmate.
Virat Nehru speaks to director Nandita Das about her new film, which chronicles the life of one of the greatest short story writers of the 20th century.
Bernadett Tuza-Ritter’s illuminating observational documentary looks at modern day slavery in Hungary.
Phoebe Chen speaks with filmmaker Luca Guadagnino about the immediacy of desire, body language, and the power of aesthetics in his latest, CALL ME BY YOUR NAME.
Priscilla Cameron’s debut feature is every bit as adolescent and as troubled as its protagonist, writes Greer Forrester.
Alex Ross Perry’s fruitful return to a romanticised celluloid Brooklyn finds tension in a group of suburbanites caught in tangled webs of familial obligation, writes Dominic Ellis.
We spoke with experimental filmmaker Fern Silva, whose 16mm work Ride Like Lightning, Crash Like Thunder recently screened at the Melbourne International Film Festival.