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.
Ildikó Enyedi’s Sydney Film Prize winner squanders its surrealist potential, shedding its focus on magical intimacy to establish a well-worn and simplistic romance.
Frankie Fenton’s documentary on the life of director Simon Fitzmaurice unfortunately positions the filmmaker only in the context of his disability.
Angry Inuk is a small step forward in acknowledging the complexity of an issue that’s long been portrayed as black and white.
Afterimage is an austere biopic set in postwar Łódź, depicting the final years of Polish painter Władysław Strzemiński.
PACmen is pitched as a pulling back of the curtain, though it’s unfortunate when all that’s behind it are a couple of crusty mops and a bucket.
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.
Directors Khushboo Ranka and Vinay Shukla rely almost exclusively on a broad brush to paint the narrative of political figure Arvind Kejriwal.
Though formally demanding, the latest film from Austrian director Michael Haneke feels thematically easy for those familiar with his work.