I was reminded of the quiet, rural drama of Dark River (2017) while watching this intense and satisfying dive into fundamentalism. It has some predictable beats but introspective camera work and a strong performance from Alice Englert help it transcend cliches.
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With conductor, Marin Alsop‘s anti-women criticism running around my head and the film’s esoteric trailer looking a tad film school, my expectations were low.
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I’m not sure of the wisdom of watching a horror like Zach Cregger’s Barbarian alone in a subterranean cinema on a Wednesday afternoon. My adrenaline was high for most of it as it twisted and turned through a dark labyrinth.
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This Canadian feature by Ally Pankiw is funny, moving, and a great vehicle for Rachel Sennott’s particular style of flinty, self deprecating comedy.
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Sometimes you want a horror experience that’s visceral and uncomplicated and the debut feature by South Australian directors Indianna Bell and Josiah Allen gives that in spades.
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What starts as a talking heads documentary about North Korean defectors becomes a gripping race to safety as we follow a family who have crossed the border into a hostile China.
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South Australian director Matt Vesely worked with a development lab and funding specifically for first-time feature directors to create a film on a defined, small budget to create this tense, one room, one character, sci-fi thriller.
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As the first gorgeous black-and-white scenes unfolded, I thought I had stumbled into a documentary.
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I was waiting in the lounge of the Capitol cinema, when a previous screening of this homegrown documentary finished. The foyer filled with a joyful throng of participants and their families, whose faces I now recognise for their starring turns in Thomas Highland’s skilful documentary.
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