This is why I watch films. First-time director Pawo Choyning Dorji takes a simple story and transports you into the world of the inhabitants of Lunana, a remote village in the north west of Bhutan.
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Cho Min-ho gives us a measured exploration of the Korean independence protests of the 20s that thoroughly engages with its focus on one women and her plight.
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I couldn’t look away for the 150 minutes of Mohammad Rasoulof’s intense meditation on the death penalty, told through four stories of individuals who are part of the system of capital punishment in Iran.
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I was unprepared for the visceral emotion of watching Tosca Looby’s deft collage of media representation of Australia’s first female Prime Minister Julia Gillard’s time in office.
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So much more than a sport documentary, Justine Moyle has managed to show the exquisite pain and beauty that is the coming of age of Australian park skateboarding star and all-round decent human being, Poppy Starr Olsen.
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Emma Dante has created a beautiful and affecting film version of her play about five Sicilian sisters, forever changed by a tragedy.
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First-time feature documentary director Kier-La Janisse gives us a fascinating deep dive into the world of ‘folk horror’ films and what they say about fear, colonialism and the ‘other’.
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Beginning as a familiar story of a rebellious teenager pushing against the confines of her family, Joyce Chopra takes us down a dark path that perfectly captures the strength and vulnerability of a young woman.
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James Ashcroft’s ‘family terrorised in the wilderness’ horror is much more than it seems, revealing layers that explore human frailty and New Zealand’s dark past.
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Natalie Morales transcends the all-too-familiar (thanks COVID-19) movie-made-on-screens gimmick to bring us an intensely moving story of human connection.
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