We speak to filmmaker Scott Barley about filming on an iPhone, the spectral qualities of cinema, and Death Grips.
The Brazilian drama from directors Juliana Rojas and Marco Dutra works best as an engaging film about love and class, rather than the genre film it eventually becomes.
Nicolas Pesce’s latest works best as a demonic screwball comedy, rather than as an adaptation of the Ryu Murakami novel.
To call Peter Vack’s anilingus-filled debut feature film ‘graphic’ would be a gross understatament.
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.