Ingrid Goes West shares the inspiration of an increasingly technology-centered society, offering a different kind of contemporary twist on the thriller genre.
Martin McDonagh’s third feature is his best yet, a sharply observed film about division in America.
Theo Anthony’s debut feature documentary RAT FILM looks at Baltimore through a discursive documentary lens akin to Harun Farocki and Chris Marker.
Martin DiCicco’s debut feature documentary follows the day-to-day lives of track workers in Armenia and Azerbaijan.
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.
Railway Sleepers observes a cross-section of life and activity in the railway cars that criss-cross Thailand.
Logie-award winning actor Henry Nixon reflects upon the third — and final? — instalment of the THE TRIP series, which finds our favourite travelling companions Steve Coogan and Rob Brydon lost in a labyrinth of their own metatextual design.
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.