Pasolini cleverly subverts the cinematic techniques of excitement to be in service of pure horror.
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Urich’s soulful connection with the documentary as well as the subject matter is one that is felt palpably.
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I felt cheated by an experience that capitalised on Murakami’s name and a trailer that hinted at his many stories, but had very little to do with the collection itself.
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Haghighi, all-round artist of acting, writing, and directing origins, leads Subtraction with direction reminiscent of Iranian greats.
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Set in the outer suburbs of Melbourne, this film acts as an enticing representation and characterisation of coming out in a society where homophobia has become socialised.
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Oakley’s directing is subtle and effective, with clever use of sound and lighting to contrast the two major settings at Jean’s school and the nightclub, which are the symbolic fronts of the heteronormative and queer environments that she arbitrates between.
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I knew two things about the film going in: a) Harris Dickinson was in it and b) it was going to make me cry. Those two things turned out to be true.
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Redmon and Sabin masterfully balance gravity and levity in what might be the funniest documentary I have ever seen.
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Set in circumstances of perpetual domestic conflict: Rape, betrayal, and family violence continually oscillate between each other, creating a profound sense of unease.
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In No Bears, we are just as much aware that we are watching a film as we are of the action taking place. With knowledge of Panahi’s context, every shot feels dangerous, and you're constantly left wondering how he made it.
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Want an alternative to those dreadful Dendy straws?
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