This is a difficult film to categorise. Structurally, its core is a famous 2004 concert, where Archie Roach and Ruby Hunter – husband and wife, and both legends of the Australian music scene – joined the Australian Art Orchestra on stage for a musical odyssey through their back catalogue.
There is a long history in Australian cinema of depicting natural environments as a source of psychological and physical horror.
Belfast opens with a scene of nostalgic sweetness. It’s 1969 and Buddy (Jude Hill) fights dragons in his local laneways, as mothers call children in for tea.
Bosnian filmmaker Jasmila Žbanić’s filmography traces the scars of her country’s troubled recent history.
Manufacturing one prodigy, let alone two, seems a risky business. Horror stories abound about tennis parents chasing vicarious glory through the offspring they sacrifice to stardom.
The 2007 animated film Persepolis was a landmark of autobiographical filmmaking.
The clash between pessimism and belief generates the main tension in The Rescue.
In an interview with Variety, Joachin Trier describes his latest film as “a coming of age tale for grown-ups who wish they had already done so”.
Zola, the new film by writer-director Janicza Bravo, feels like a spiritual sequel to Harmony Korine’s controversial 2012 film Spring Breakers.
How do you portray on screen Australia’s worst modern-day massacre, Port Arthur, in a way that is both sensitive and truthful? How do you contend with the human realities, as well as the social and political context in which the film is made?