To call Peter Vack’s anilingus-filled debut feature film ‘graphic’ would be a gross understatament.
Conor Bateman speaks to filmmaker Bill Morrison about his latest film, DAWSON CITY: FROZEN TIME, which tells the story of American capitalism through the guise of a Gold Rush historicity.
Jeremy Elphick speaks with Ben Russell about his film GOOD LUCK, his lengthy relationship with Suriname, and the experience of shooting for the first time in Serbia.
Damien Power’s debut feature harks back to the golden age of Australian genre film but its approach to landscape is sadly ahistorical.
Phoebe Chen speaks with filmmaker Luca Guadagnino about the immediacy of desire, body language, and the power of aesthetics in his latest, CALL ME BY YOUR NAME.
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.
In this feature piece, C.J. Prince writes on some of the highlights in this year’s Short Cuts programme at the Toronto International Film Festival.
The latest take on Stephen King’s murderous alien clown is an effective jump scare machine, satisfying and exhausting in equal measure.
We spoke with experimental filmmaker Fern Silva, whose 16mm work Ride Like Lightning, Crash Like Thunder recently screened at the Melbourne International Film Festival.