Dark Symbols: Violent Awakening in Del Kathryn Barton’s Blaze Words Travis Johnson 29 November 2022 Australian and New Zealand CinemaIssue No. 214
Playing Pretend: Shifting Roles in Sara Kern’s Moja Vesna Words Annika Morling 29 November 2022 Australian and New Zealand CinemaIssue No. 214
A Little Less Conversation: The Convenient Omissions of Baz Luhrmann’s Elvis Words Greta Parry 29 November 2022 Australian and New Zealand CinemaIssue No. 214
Spinning Tales: Myth and Magic in George Miller’s Three Thousand Years of Longing Words Anthony Carew 29 November 2022 Australian and New Zealand CinemaIssue No. 214
Speaking in Riddles: Sex, Comedy and Subtitles in Armağan Ballantyne’s Nude Tuesday Words Barnaby Smith 29 November 2022 Australian and New Zealand CinemaIssue No. 214
Taking Flight: Deception and Impostor Syndrome in Michelle Savill’s Millie Lies Low Words Alexandra Heller-Nicholas 29 November 2022 Australian and New Zealand CinemaIssue No. 214
Bad Influence: Hannah Barlow and Kane Senes on Balancing Horror and Social Media Satire in Sissy Words Stephen A Russell 29 November 2022 FreeAustralian and New Zealand CinemaIssue No. 214
Precious Time: Family Life and Togetherness in Sari Braithwaite’s Because We Have Each Other Words Kath Dooley 29 November 2022 DocumentaryIssue No. 214
Starting Afresh: Trauma and Compassion in Lachlan McLeod’s Clean Words Rebekah Brammer 29 November 2022 DocumentaryIssue No. 214
Cathartic Moves: Competition and Community in Luke Cornish’s Keep Stepping Words Debbie Zhou 29 November 2022 DocumentaryIssue No. 214
Life on Show: The Ethical Quandaries of Jason van Genderen’s Everybody’s Oma Words Susan Bye 29 November 2022 DocumentaryIssue No. 214
The Past Flows into the Future: Kasimir Burgess’ Franklin Words Belinda Smaill 29 November 2022 DocumentaryIssue No. 214
Out for Blood: Identity, Colonialism and Vampires in Firebite Words Juliette Salom 29 November 2022 Beyond the Big ScreenIssue No. 214
No Place to Run: Inescapable Politics in Mounia Akl’s Costa Brava, Lebanon Words Anthony Carew 29 November 2022 Focus on Asia and the Middle EastIssue No. 214
Out of Water: Genre, Turkish Cinema and Emin Alper’s Burning Days Words Glenn Dunks 29 November 2022 Focus on Asia and the Middle EastIssue No. 214
Entangled Lives: Trauma, Attachment and Survival in My Brilliant Friend and Pachinko Words Steven Aoun 29 November 2022 Screen EducationIssue No. 214
Making a Scene: Telling Stories and Engaging Audiences on TikTok Words Kristina Chapman 29 November 2022 Screen EducationIssue No. 214
Finding the Rhythm: Ambition and Responsibility in Dingo Words Cavan Gallagher 29 November 2022 Critical ViewsIssue No. 214
Goodbye Neighbours; Hello Reality Words Cameron Williams 29 November 2022 Scope: Screen Industry ViewsIssue No. 214
What Have the ABC Archives Ever Done for Us? Words Liz Giuffre 29 November 2022 Scope: Screen Industry ViewsIssue No. 214
Bringing the World to Australia: Benjamin Zeccola on Palace Cinemas’ Global Festival Slate Words CJ Johnson 29 November 2022 Scope: Screen Industry ViewsIssue No. 214
Nurturing Development: VicScreen’s Indie Games Showcase Words Nicholas Kennedy 29 November 2022 Scope: Screen Industry ViewsIssue No. 214
‘New Rivers Spin Inside’: Women and Witchcraft in Goran Stolevski’s You Won’t Be Alone Words Alexandra Heller-Nicholas 08 August 2022 Australian and New Zealand CinemaIssue No. 213
In the Driver’s Seat: The Relatable Radicalism of David Easteal’s The Plains Words Glenn Dunks 08 August 2022 Australian and New Zealand CinemaIssue No. 213
Future Projection: The Emotional Landscape of Ivan Sen’s Loveland Words Travis Johnson 08 August 2022 FreeAustralian and New Zealand CinemaIssue No. 213
Aspirational Delight: The Bland Fantasies of Renée Webster’s How to Please a Woman Words Mel Campbell 08 August 2022 Australian and New Zealand CinemaIssue No. 213
Breaking Point: Grief and Rebirth in Matthew J Saville’s Juniper Words Daniel Lammin 08 August 2022 Australian and New Zealand CinemaIssue No. 213
Staying Afloat: Tyler Atkins on Bosch & Rockit Words Oliver Pfeiffer 08 August 2022 Australian and New Zealand CinemaIssue No. 213
‘Now You’re at Home’: The Power of Music in Macario De Souza’s 6 Festivals Words Claire White 08 August 2022 Australian and New Zealand CinemaIssue No. 213
World Without a Map: The Flattening Perspective of Jennifer Peedom’s River Words Kenta McGrath 08 August 2022 DocumentaryIssue No. 213
Mechanisms of Control: Yaara Bou Melhem on Unseen Skies Words Anthony Carew 08 August 2022 DocumentaryIssue No. 213
Stolen Lives: Confronting the Past in Allan Clarke’s The Bowraville Murders Words Jasmine Crittenden 08 August 2022 DocumentaryIssue No. 213
Burnishing an Icon: Madeleine Martiniello on Palazzo di Cozzo Words Stephen A Russell 08 August 2022 FreeDocumentaryIssue No. 213
An Acquired Taste: Warwick Ross and Rob Coe on Blind Ambition Words Oliver Pfeiffer 08 August 2022 DocumentaryIssue No. 213
Lingering Notes: A Song Cycle Remembered in Philippa Bateman’s Wash My Soul in the River’s Flow Words Barnaby Smith 08 August 2022 DocumentaryIssue No. 213
Adelaide Dreams Electric: Immersive Possibilities at Adelaide Fringe Words Kim Munro 08 August 2022 Beyond the Big ScreenIssue No. 213
A God Is Born: Religion and the Absurd in Ritwik Pareek’s Dug Dug Words Anthony Carew 08 August 2022 Focus on Asia and the Middle EastIssue No. 213
Cinema Science: Cosmic Collisions and Disaster Denialism in Don’t Look Up Words Dave Crewe 08 August 2022 FreeScreen EducationIssue No. 213