Mohamed Kordofani (in an accomplished debut feature) teaches us about the political and social issues in Sudan in the early years of the Millennium through the eyes of two women on opposite sides of the conflict.
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Set predominantly within an apartment, Bong Joon-ho protege Jason Yu’s ‘not really a horror’ hits the right balance between creepiness and drama.
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I lived through the rise and fall of BlackBerry but, not being an early adopter, it barely touched my life.
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Georgia Oakley crafts a decent debut feature that captures the challenges of being a lesbian in Thatcher’s Britain.
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Destined to confound, this sometimes surreal drama (with a touch of horror) sits in an uncomfortable space between metaphor and realism.
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Isabel Darling’s The Carnival reminded me of a particular ilk of great Australian documentary storytelling, like Maya Newell’s Gayby Baby (2015) and In My Blood it Runs (2019) and Justine Moyle’s Tall Poppy (2021). The storytellers find a subject or a family who seem absolutely ordinary and build a rapport that allows them to tell the story of how they are extraordinary.
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A room full of filmmakers with remarkably little insight into the world outside of their bubble.
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