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.
We spoke with Annemarie Jacir about the capturing conflict on screen, making films about Palestinian identity, and how the country’s film scene has developed in recent years.
At Locarno, Jeremy Elphick spoke to SCARY MOTHER team Ana Urushadze and Nata Murvanidze about the filmmaking process in Georgia, the hurdles in acquiring funding, and the dynamics of directing a feature and working with a large crew at young age.
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.
Kai Perrignon writes on the kinship shared by Kenzo Okuzaki and David Crowley, published in partnership with Melbourne International Film Festival’s Critics Campus program.
At Locarno 70, Jeremy Elphick spoke at length with director Valérie Massadian, whose latest film MILLA took home the festival’s special jury prize.