We speak to filmmaker Scott Barley about filming on an iPhone, the spectral qualities of cinema, and Death Grips.
The latest from Karyn Kusama is a brutal, hard film, never surrendering to a cathartic moment of softness we secretly crave.
The Green Fog is a delirious homage to one of the most famous and most lauded films ever made: Alfred Hitchcock’s Vertigo.
Peter Strickland’s hilarious fashion-centric horror-comedy is one of the most stylistically ambitious and genuinely overwhelming movies in recent memory.
The latest film from Bruno Forzani and Héléne Cattet is a Corsican free-fire ballet playing out against Bleu-de-France-saturated skies.
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.
Nathaniel Kahn’s art-doc is fixated on finance but struggles to make any salient points about the development of value in art.
Sebastián Silva’s latest provocation is an exercise in alienation, following a ‘guys’ weekend’ charged with unsettling racial undertones.
The latest documentary by Véréna Paravel and Lucien Castaing-Taylor is fixated on Issei Sagawa, the infamous Japanese man who in 1981 murdered, had sex with, and cannibalised a classmate.
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.