Martin DiCicco’s debut feature documentary follows the day-to-day lives of track workers in Armenia and Azerbaijan.
Conor Bateman speaks to filmmaker Bill Morrison about his latest film, DAWSON CITY: FROZEN TIME, which tells the story of American capitalism through the guise of a Gold Rush historicity.
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.
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.