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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It’s hard not to like this unashamed hagiography of furniture salesman and Melbourne icon, Franco Cozzo.
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Messy, arty and wry, this mockumentary by Bill Benz weaves the true-life friendship of Carrie Brownstein and Annie Clark, stage-name St. Vincent, with a rumination on fame, identity and artifice.
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This simple and joyful film, ostensibly about a young band trying to navigate flood waters to get to Tehran for an audition, hides a deeper meaning about the challenges for young Iranians.
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Like a black and white Amelie (2001) without the whimsy, French director and graphic novelist Nine Antico’s first feature tracks the travails of hapless Sophie (Sara Forestier) as she searches for love.
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Director Shelly Silver takes a simple premise – to interview young women about the art they are seeing in a gallery – and creates an absorbing commentary on female representation and its effects.
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Full of slow twists and turns and existential ruminations on the intersections of physiology, memory and personality, Lili Horvát’s enigmatic drama gives us no easy answers.
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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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Reminiscent of an early Asghar Farhadi film, this tense and elegant drama by partners Behtash Sanaeeha and Maryam Moghadam explores the complexities of sacrifice and atonement in contemporary Iran.
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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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