

This thoroughly enjoyable schlock horror game show pastiche is, as my MIFF buddy Not a Sexy Vampire aptly calls it, “the Don Lane show gone to hell.”
Continue reading

This thoroughly enjoyable schlock horror game show pastiche is, as my MIFF buddy Not a Sexy Vampire aptly calls it, “the Don Lane show gone to hell.”
Continue reading

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.
Continue reading

Celine Song’s debut feature is a quiet and lyrical ode to inyeon, the Korean term for “the miracle of being in the same room together at the same time.”
Continue reading

What might you say if you came face to face with the parents of the child who killed your child?
Continue reading

This must be one of the most convincing ‘docufictions’ I have even seen. Peter Kerekes spent five years filming in a Ukrainian women’s prison and has crafted an austere and profound drama where the voices of the women are integral to the story.
Continue reading

You always hope for a gem at a film festival – a film you know nothing about, that you have no particular hopes for but that transports you somewhere transcendent.
Continue reading

Documentaries don’t usually make me so angry I want to throw something at the screen. Vietnamese film maker Hà Lệ Diễm gives us unprecedented insight into Hmong culture and their tradition of bride kidnapping.
Continue reading

Even though this is a very intimate story of friendship, it feels epic in scale and rich in detail, set against a glorious backdrop of Alpine mountains.
Continue reading

Lucile Hadzihalilovic’s first feature-length film is an austere and ominous parable about the societal limitations imposed on young women.
Continue reading