A couple of cinematic hours in a remote, Siberian village is never a bad thing. I still remember the exquisite Ága (2018), an intensely beautiful exploration of silence and subsistence that immersed you in a life that seems far removed from what we think of as Russian culture.
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My heart was full after spending two hours with Amy Ray and Emily Saliers a.k.a. the Indigo Girls.
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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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My mum was politically conservative. She and my dad were Liberal voters but I still remember the yellow triangular No Dams sticker on her car.
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A gentle love letter to Melbourne that will make you look up with a new appreciation of what you probably walk past every day.
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This is just the kind of documentary you want to watch. It’s got intrigue, a charismatic protagonist and it captures real-life drama unfolding on camera.
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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.
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