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.
In recent years, Australian filmmaker Donna McRae has been determinedly creating some of the most thoughtful and powerful genre films in the country.
Emily Atef’s extraordinarily moving Romy Schneider biopic argues fervently against the simplistic media image of the actress.
Alexandra Heller-Nicholas pens a love letter to the work of filmmakers Justin Benson and Aaron Moorhead, whose latest film THE ENDLESS screened at Queensland Film Festival.
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.