

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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What a hoot! I knew this was going to be a little bit absurdist and a lot camp and I thoroughly enjoyed every stylish and silly moment.
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I don’t know who Joe Swanberg is, but he was there at the screening and the audience seemed to think he was something pretty special. It seems he hasn’t had a film out for about six years, and in the past has moved around different genres and was a leader in mumblecore.
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How do you go beyond shocking statistics that people seem to have become immune to?
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Yes, the synopsis for this debut film by Yusuke Iwasaki film in the festival program said it was a darkly comedic horror but for some reason that hadn’t really sunk in.
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Seeing the Australian premiere of Paloma Schneideman’s first feature film meant the audience was keyed up for a good time, laughing at every joke.
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I felt duty bound to see this film by Mahnaz Mohammadi, supporting the sisterhood by going to see a film that said from the outset that it was about a woman being tortured in an Iranian prison.
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This well balanced and nonjudgemental documentary captures a rare thing. Following a Syrian family precariously fleeing Turkey in 2015, the filmmakers follow 11 year-old Israa and her family over a period of 10 years.
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I kept thinking of other films while I was watching Andrius Blazevicius’s poignant and sometimes dispassionate look at performative activism and interpersonal relationships.
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This is one of those gentle Kore-eda films, evoking existential thought as well as whimsy.
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