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Funny Pages – Four Ways

Owen Kline’s coming-of-age black comedy Funny Pages gets the critical treatment from four of our 2022 Critics Campus participants: Andrew Fraser, Ellen O’Brien, Lamya Nawar and Brooke Heinz.
24 Aug 2022
Your Money, My Problem: Halina Reijn’s Bodies Bodies Bodies

Your Money, My Problem: Halina Reijn’s Bodies Bodies Bodies

Critics Campus participant Ellen O’Brien reflects on the entanglement of fascination, aspiration and alienation when watching screen portrayals of wealth, using Halina Reijn’s Bodies Bodies Bodies as her jumping-off point.
 Ellen O’Brien 23 Aug 2022
Sissy – Four Ways

Sissy – Four Ways

Hannah Barlow and Kane Senes’s Sissy receives some critical attention from four of our 2022 Critics Campus participants: Isabelle Carney, James Walsh, Digby Houghton and Lily Rodgers.
22 Aug 2022
Killed Off: The Ultimate Villain in Speak No Evil

Killed Off: The Ultimate Villain in Speak No Evil

Critics Campus participant Lamya Nawar dissects the inertia and contrivances – depicted and in delivery – at the heart of Christian Tafdrup’s Speak No Evil.
 Lamya Nawar 22 Aug 2022
Aftersun and the Great Unknown

Aftersun and the Great Unknown

Critics Campus participant Lily Rogers examines the calibrations of suggestion, subtlety and reticence in Charlotte Wells’s Aftersun.
 Lily Rodgers 18 Aug 2022
The Australian Ugliness: Thomas M. Wright’s The Stranger

The Australian Ugliness: Thomas M. Wright’s The Stranger

Critics Campus participant Andrew Fraser unravels the ethical tightrope trod by Thomas M. Wright’s The Stranger and male-focused true-crime films of its ilk.
 Andrew Fraser 18 Aug 2022
The Smaller Picture: Itsy Bits of Life in Marcel the Shell with Shoes On

The Smaller Picture: Itsy Bits of Life in Marcel the Shell with Shoes On

Critics Campus participant Isabelle Carney reflects on perspective, empathy and context, as depicted in Marcel the Shell With Shoes On.
 Isabelle Carney 16 Aug 2022
Video Essay: The Afterlight

Video Essay: The Afterlight

Critics Campus participant Digby Houghton questions the role of contemporary cinephiles in today’s climate. Using Charlie Shackleton’s single-print film The Afterlight as a backdrop, Houghton explores ephemerality, memorabilia and bias in film preservation.
 Digby Houghton 13 Aug 2022
Intimacy and Insight: Jane by Charlotte and Documentary as Personal Care

Intimacy and Insight: Jane by Charlotte and Documentary as Personal Care

Critics Campus participant James Walsh delves into the revelatory Jane by Charlotte, contrasting Charlotte Gainsbourg’s filmmaking approach with that of Jane B. par Agnès V. director Agnès Varda.
 James Walsh 12 Aug 2022
Out With the Old: Plan 75, Incredible but True and the Fear of Ageing on Screen

Out With the Old: Plan 75, Incredible but True and the Fear of Ageing on Screen

Critics Campus participant Brooke Heinz explores two MIFF 70 sci-fi films’ distinctly executed yet converging warnings against resisting the course of nature.
 Brooke Heinz 11 Aug 2022
A Fantasy of Control: Agency and Abrasiveness in The Scary of Sixty-First

A Fantasy of Control: Agency and Abrasiveness in The Scary of Sixty-First

Critics Campus 2021 alumnus Jared Richards dives head-first into the manic imagery and manifold references of Dasha Nekrasova’s provocative The Scary of Sixty-First.
 Jared Richards 18 Apr 2022
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