Australian and New Zealand Cinema
253 articles
Rays of Desire: Queer Time in Katie Found’s My First Summer
Life on Fast Forward: Mortality and Regret in Josh Lawson’s Long Story Short
Hidden Forces: Childhood, Commerce and Cost in Granaz Moussavi’s When Pomegranates Howl
Fragmented Feelings: Matthew Victor Pastor’s The Neon Across the Ocean
Swimming Through Time: Sally Aitken on Playing with Sharks: The Valerie Taylor Story
Breaking the Waves: Defeating Discrimination in Christopher Nelius’ Girls Can’t Surf
‘The Stars Are All Strange Here’: Cultural Memory and Forgetfulness in Roderick MacKay’s The Furnace
Dry Fidelity: Robert Connolly’s The Dry and Big-screen Crime Adaptation
Bird’s-eye View: Glendyn Ivin on Chance and Nature in Penguin Bloom
Out of Breath: Timely Issues and Old Gender Tropes in Seth Larney’s 2067
Shooting for the Stars: Luke Sparke’s Occupation: Rainfall and the Elusive Australian Blockbuster
Rocky Road: Running From Responsibility in Kurt Martin’s Moon Rock for Monday
Free Country: Colonial Incursions in Stephen Maxwell Johnson’s High Ground
Mending Fences: Animosity and Adaptation in Jeremy Sims’ Rams
Hogan’s Heroes: Star Image in Dean Murphy’s The Very Excellent Mr. Dundee
Elusive Connections: Ritual and Reconstruction in Jayden Stevens’ A Family
Bathing in Genre: Homage and Experimentation in Parish Malfitano’s Bloodshot Heart
Reflections on a Shared History: Monica Zanetti on Ellie & Abbie (& Ellie’s Dead Aunt)
Mum’s Not the Word: Identity and Autonomy in Curtis Vowell’s Baby Done
Alone Together: Gregor Jordan on Adapting the Intangible in Dirt Music
House of Horrors: Ageing and Loss in Natalie Erika James’ Relic
All You Can Be: Self-actualisation, Self-acceptance and Disability in Paul Barakat’s Kairos
Performance, Transgression and Transformation: Angie Black’s The Five Provocations
Aussie Mayhem: Judd Tilyard on Jesse O’Brien’s Two Heads Creek
Capricious Childhood: Confronting Family Life in John Sheedy’s H Is for Happiness
Australian Mythology: The Selective Celebration of Rachel Griffiths’ Ride Like a Girl
A Familiar Track: Looking Under the Hood of Owen Trevor’s Go!
Seeing Through the Disguise: Leigh Whannell’s The Invisible Man
Not Another Dying Girl: How Shannon Murphy’s Babyteeth Challenges a Weary Trope
The Political Is Personal: Helen Reddy and the Generational Politics of I Am Woman
Maternal Instinct: Genre, Grief and Mental Illness in Kim Farrant’s Angel of Mine
‘Are You Not Entertained?’: Maziar Lahooti’s Below and the Morality of Pay-per-view Violence
The Pen Is Mightier than the Gun: Justin Kurzel’s True History of the Kelly Gang and Punk Historiography
Lust in Space: Teenage Queerness and Connection in Samuel van Grinsven’s Sequin in a Blue Room
Dawn of the Dad: Masculinity and Maturity in Abe Forsythe’s Little Monsters
Artificial Inheritance: Robotics and Responsibility in Grant Sputore’s I Am Mother
The Lingering Melodies of Trauma: Ben Lawrence’s Hearts and Bones
The Price of Fish: Slavery and Social Responsibility in Rodd Rathjen’s Buoyancy
