The latest from Karyn Kusama is a brutal, hard film, never surrendering to a cathartic moment of softness we secretly crave.
Peter Strickland’s hilarious fashion-centric horror-comedy is one of the most stylistically ambitious and genuinely overwhelming movies in recent memory.
Martin McDonagh’s third feature is his best yet, a sharply observed film about division in America.
Jeremy Elphick speaks with Ben Russell about his film GOOD LUCK, his lengthy relationship with Suriname, and the experience of shooting for the first time in Serbia.
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.
In this feature piece, C.J. Prince writes on some of the highlights in this year’s Short Cuts programme at the Toronto International Film Festival.
In this feature piece we look at some of the films on offer in Toronto International Film Festival’s eclectic Short Cuts programme, including the latest from Jia Zhangke and a strong showing of shorts by Aboriginal filmmakers.
Chrstopher Doyle’s HONG KONG TRILOGY is a beautifully shot survey of Hong Kong caught at a crossroads.
Despite being rendered in stop-motion animation, ANOMALISA is the closest Kaufman has come to a pure, unencumbered emotional directness.