

I don’t expect much from a midnight horror screening at the Melbourne Film Festival, but I want something with a good level of scariness that isn’t too ridiculous in its narrative arc.
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I don’t expect much from a midnight horror screening at the Melbourne Film Festival, but I want something with a good level of scariness that isn’t too ridiculous in its narrative arc.
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Before seeing this film, someone in a film queue told me that, of course this wouldn’t be a film about concrete.
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There is a warning at the start of this film that it contains references to child sexual abuse and so you know it is going to be potentially a tough watch.
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Sumptuous and poetic exploration of queer love under fascism and the vestiges of repression that leak out into the future.
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This is one of the Kim Novak retrospective films, and I have a newfound appreciation for her.
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This was perfect late night horror fare. The gore factor was excellent without being overwhelming and there were some great comedic moments and set pieces to balance it out.
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This is a mid-MIFF panacea. Gregg Araki switches the gender roles of an abusive workplace relationship and manages to provoke thought and also delight in its cheeky absurdity.
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Okay, I only went to see this because I know one of the ‘background talent’ – that is the term director, writer, producer and star Harvey Zielinski used in his introduction to the film.
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Yesterday I watched the film that this is a remake of – Chabrol’s The Unfaithful Wife. I suspect it kept me intellectually rather than emotionally engaged with the story.
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