

I don’t expect much from a midnight horror screening at the Melbourne Film Festival, but I want something with a good level of scariness that isn’t too ridiculous in its narrative arc.
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I don’t expect much from a midnight horror screening at the Melbourne Film Festival, but I want something with a good level of scariness that isn’t too ridiculous in its narrative arc.
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Before seeing this film, someone in a film queue told me that, of course this wouldn’t be a film about concrete.
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I don’t know who Joe Swanberg is, but he was there at the screening and the audience seemed to think he was something pretty special. It seems he hasn’t had a film out for about six years, and in the past has moved around different genres and was a leader in mumblecore.
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This will hit you in the feels if you are at all a fan of Mary Oliver‘s poetry and make you want to go out and buy one of her books if you are not.
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This is one of the Kim Novak retrospective films, and I have a newfound appreciation for her.
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This is a mid-MIFF panacea. Gregg Araki switches the gender roles of an abusive workplace relationship and manages to provoke thought and also delight in its cheeky absurdity.
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My MIFF BFF Ariel said I had to see this film as Barbara Hammer is the most important lesbian filmmaker ever. I’m glad I did.
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There is no schadenfreude like watching the uber wealthy cause trouble for each other.
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What a great film! I was sure I had seen it before but I absolutely hadn’t. And what I didn’t realise was that the person who shot Andy Warhol was Valerie Solanas! I feel like a bad feminist for not putting two and two together.
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This is not The Man with the Golden Gun. I think in the back of my brain I thought that’s what I was booking, a James Bond film.
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