Martin DiCicco’s debut feature documentary follows the day-to-day lives of track workers in Armenia and Azerbaijan.
Alice Lowe’s pre-natal horror Prevenge shies away from biting commentary, content with absurd bloodlust.
To call Peter Vack’s anilingus-filled debut feature film ‘graphic’ would be a gross understatament.
Damien Power’s debut feature harks back to the golden age of Australian genre film but its approach to landscape is sadly ahistorical.
Priscilla Cameron’s debut feature is every bit as adolescent and as troubled as its protagonist, writes Greer Forrester.
Alex Ross Perry’s fruitful return to a romanticised celluloid Brooklyn finds tension in a group of suburbanites caught in tangled webs of familial obligation, writes Dominic Ellis.
The latest take on Stephen King’s murderous alien clown is an effective jump scare machine, satisfying and exhausting in equal measure.
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.
Directors Jarius McLeary and Gethin Aldous document a four-day therapy session inside Folsom Prison with THE WORK, a beautiful film with a willingness to step into fear to find a raw, unremitting beauty in the witnessing of healing.
Railway Sleepers observes a cross-section of life and activity in the railway cars that criss-cross Thailand.