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.
The latest film from Nana Ekvtimishvili and Simon Groß is a subtly powerful and patient character study that relishes in sensory pleasures.
Laura Poitras’ documentary following Wikileaks founder Julian Assange suffers from a scattershot focus, unable to coalesce into anything more than an interesting collection of hard-to-get footage.
Warwick Thornton’s irreverent and passionate Sydney Film Festival opener tackles a broad range of pressing contemporary discussions on race, history and identity.
Alexandre O. Philippe’s cinephilic documentary neuters interesting avenues of discussion around Hitchcock and Psycho, instead preferring to traffic in the superficial.
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.
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.
Kenneth Lonergan’s third feature film revisits his pet themes of grief, family and community, all conveyed with the sharply observed realism which defines his writing.
M. Night Shyamalan’s latest is outlandish in premise and limp in execution.
Wading through Burt Reynolds’ personal archive makes THE BANDIT much more than a simple behind-the-scenes doc.