

There is nothing like a Soda Jerk film.
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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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A surprising gut punch of a documentary that is as tense as a thriller and an emotional tribute to volunteers.
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I walked into this film thinking I knew what kind of experience it was going to be. It’s a documentary by Sue Thomson about the growing number of women aged over 55 in Australia who are finding themselves unexpectedly homeless.
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