Image via miff.com.au
Ten minutes into this sophomore feature by Kaili Blues (2015) director Gan Bi, I remembered how much I struggled to engage with his first film. Continue reading
Long Day’s Journey Into Night (地球最后的夜晚) (2018)
StandardAdam (2019)
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Image via miff.com.au
Like a sweet, golden, flaky pastry served with a bitter coffee, Maryam Touzani’s Adam is full of warmth, sorrow and satisfaction. Continue reading
The Lodge (2019)
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Image via miff.com.au
Austrian directors Severin Fiala and Veronika Franz have crafted a frosty and compelling suspense with horror overtones. It surpasses Hereditary (2018) with its eery themes of rural isolation and family dysfunction. Continue reading
Dark Place (2019)
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Image from Killer Native via miff.com.au
Dark Place is an anthology of short, horror films by Australian Indigenous filmmakers and it’s an indictment of Australia that they don’t need to exaggerate reality much for it to be horror. Continue reading
Dudes (1987)
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The 80s weren’t a great time for female characters in teen cinema. Continue reading
Daffodils (2019)
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Image via miff.com.au
I was primed for this New Zealand musical as a line of Maori singers serenaded the queue as we waited and they walked into the cinema. I was a tad disappointed when I realised they were there for For My Father’s Kingdom in Kino 1 and Daffodils was going to be a bit more pakeha. Continue reading
We Are Little Zombies (Wî â Ritoru Zonbîzu) (2019)
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Image via miff.com.au
Told in a Wes Anderson-esque tableau style, Makoto Nagahisa’s We Are Little Zombies is a visual onslaught that frames childhood grief as a computer game, with avatars, quests, save points and perhaps even a chance of a game reset. Continue reading
