Crises of Faith: Christianity, Aboriginal Spirituality and Colonisation in Warwick Thornton’s The New Boy Words Anthony Carew 19 December 2023 Australian and New Zealand CinemaIssue No. 216
In the Company of Men: Fictionalising Misogyny in Kitty Green’s The Royal Hotel Words Grace Boschetti 08 December 2023 Australian and New Zealand CinemaIssue No. 216
The Mountain Will Not Move: Rolf de Heer’s The Survival of Kindness Words Nicholas Godfrey 02 November 2023 Australian and New Zealand CinemaIssue No. 216
Looking to Spring: Fear and Regeneration in Noora Niasari’s Shayda Words Annika Morling 08 October 2023 Australian and New Zealand CinemaIssue No. 216
To Hell with Elevation: Ritual, Power and Transformation in Talk to Me Words Alexandra Heller-Nicholas 25 September 2023 Australian and New Zealand CinemaIssue No. 216
The Myth of the Ocean, the Reality of Water: Robert Connolly and Radha Mitchell on Blueback Words Travis Johnson 27 February 2023 Australian and New Zealand CinemaIssue No. 215
No Turning Back: Temporality, Displacement and Desire in Goran Stolevski’s Of an Age Words Adolfo Aranjuez 27 February 2023 Australian and New Zealand CinemaIssue No. 215
Stolen Glances: Goran Stolevski on You Won’t Be Alone and Of an Age Words Stephen A Russell 27 February 2023 FreeAustralian and New Zealand CinemaIssue No. 215
Mirror Image: Thomas M Wright on The Stranger Words Anthony Carew 27 February 2023 FreeAustralian and New Zealand CinemaIssue No. 215
Haunting Portraits: Intimacy and Identity in Alena Lodkina’s Petrol Words Danica van de Velde 27 February 2023 Australian and New Zealand CinemaIssue No. 215
‘What a Way to Make a Living’: Commodified Identity in Gracie Otto’s Seriously Red Words Mel Campbell 27 February 2023 Australian and New Zealand CinemaIssue No. 215
On the Same Wavelength: Connection Through Radio in Platon Theodoris’ The Lonely Spirits Variety Hour Words Annika Morling 27 February 2023 Australian and New Zealand CinemaIssue No. 215
Suburban Fragments: Community and Bricolage in Tim Barretto’s Bassendream Words Kenta McGrath 27 February 2023 Australian and New Zealand CinemaIssue No. 215
Laughing on the Inside: Frank Lotito’s Wog Boys Forever and Multicultural Comedy Words Andrew F Peirce 27 February 2023 Australian and New Zealand CinemaIssue No. 215
Marching Through Time: Māori History, Biographical Filmmaking and Whina Words Rebecca Weeks 27 February 2023 Australian and New Zealand CinemaIssue No. 215
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
‘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
Memory, Myth and Representation: Leah Purcell on The Drover’s Wife the Legend of Molly Johnson Words Travis Johnson 30 May 2022 Australian and New Zealand CinemaIssue No. 212
Where the Heart Is: Shifting Frontiers in Here Out West Words Barnaby Smith 30 May 2022 Australian and New Zealand CinemaIssue No. 212
Authentic Depictions: Julie Kalceff and Ana Kokkinos on Here Out West Words Oliver Pfeiffer 30 May 2022 Australian and New Zealand CinemaIssue No. 212
All That Glitters: Anthony Hayes on Gold Words Stephen A Russell 30 May 2022 Australian and New Zealand CinemaIssue No. 212
Unguided Tour: Drifting Life in Adam C Briggs’ Paris Funeral, 1972 Words Brian McFarlane 30 May 2022 Australian and New Zealand CinemaIssue No. 212
Journey into Darkness: Justin Kurzel and Shaun Grant on Nitram Words Anthony Carew 28 February 2022 Australian and New Zealand CinemaIssue No. 211
Pack of Lies: Masquerades of Masculinity in Jane Campion’s The Power of the Dog Words Adolfo Aranjuez 28 February 2022 Australian and New Zealand CinemaIssue No. 211
Searching for Home: Ainsley Gardiner and Briar Grace-Smith’s Cousins Words Danica van de Velde 28 February 2022 Australian and New Zealand CinemaIssue No. 211
The Eye of the Storm: Gender and Generational Change in Aaron Wilson’s Little Tornadoes Words Annika Morling 28 February 2022 Australian and New Zealand CinemaIssue No. 211
Unlucky Country: Malediction and Middle-class Malaise in James Vaughan’s Friends and Strangers Words Eileen Jones 29 November 2021 Australian and New Zealand CinemaIssue No. 210
No Exit: Regional Australian Atrophy in Kyle Davis’ Dry Winter Words James Robert Douglas 29 November 2021 Australian and New Zealand CinemaIssue No. 210