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.
At the Melbourne International Film Festival, YOURSELF AND YOURS is a sharply observed romantic comedy that’s unique among director Hong Sang-soo’s work, writes Conor Bateman.
Kai Perrignon writes on the kinship shared by Kenzo Okuzaki and David Crowley, published in partnership with Melbourne International Film Festival’s Critics Campus program.
Directors Jarius McLeary and Gethin Aldous document a four-day therapy session inside Folsom Prison with THE WORK, a beautiful film with a willingness to step into fear to find a raw, unremitting beauty in the witnessing of healing.
Railway Sleepers observes a cross-section of life and activity in the railway cars that criss-cross Thailand.
Ivan Čerečina speaks with French composer-filmmaker-theorist-critic Michel Chion ahead of a series of lectures and performances at the Melbourne International Film Festival.
Josh and Benny Safdie’s energetic thriller plays out like a neon-drenched episode of COPS, propelled by Daniel Lopatin’s score and Robert Pattinson’s manic performance.