We speak to Australian video art duo Soda_Jerk about their new intricate cinematic collage, TERROR NULLIUS, which takes on Australian cultural myths through re-purposed film clips.
Manto – An Interview with Nandita Das
Virat Nehru speaks to director Nandita Das about her new film, which chronicles the life of one of the greatest short story writers of the 20th century.
Lost Gully Road – An Interview with Donna McRae
In recent years, Australian filmmaker Donna McRae has been determinedly creating some of the most thoughtful and powerful genre films in the country.
Gregory J. Markopoulos and the Cantrills: The Language of the Image – An Interview with Curators Audrey Lam and Keegan O’Connor
Ivan Čerečina spoke with the “Gregory J. Markopoulos and the Cantrills: The Language of the Image” curators Audrey Lam and Keegan O’Connor about the upcoming screenings and the importance of the links between filmmakers, institutions and archives in the organisation of the program.
Strange Colours – An Interview with Alena Lodkina
Jessica Ellicott speaks with director Alena Lodkina about her debut feature STRANGE COLOURS, ahead of its Sydney Film Festival
In the Realm of Perfection – An Interview with Julien Faraut
In Paris, we spoke with Julien Faraut, whose latest film L’Empire de la perfection is a dazzling lesson in montage, tennis and what it means to capture the real.
Sweet Country – An Interview with Warwick Thornton
We spoke with director Warwick Thornton about his new film Sweet Country, Australian cinema history and the role of the archive.
Dragonfly Eyes – An Interview with Xu Bing
We spoke to Xu Bing about his lengthy career as an artist, and what inspired him to make an entry into cinema.
Panoptic – An Interview with Rana Eid
We spoke to Panoptic-director Rana Eid about filming painful histories, the collective process of reflection filmmakers in Lebanon are undertaking, and how her background in sound informed her debut feature.
Lucky – An Interview with John Carroll Lynch
We spoke to John Carroll Lynch about the filming Lucky as an intimate piece about Stanton’s life, working with a cast and crew devoted to the actor, and making a film about mortality in such proximity to reality.