Caught on Camera: Surveillance and Abstraction in Jonathan Ogilvie’s Lone Wolf Words Jake Wilson 30 August 2021 Australian and New Zealand CinemaIssue No. 209
Rays of Desire: Queer Time in Katie Found’s My First Summer Words Louise Sheedy 30 August 2021 Australian and New Zealand CinemaIssue No. 209
Life on Fast Forward: Mortality and Regret in Josh Lawson’s Long Story Short Words Travis Johnson 30 August 2021 Australian and New Zealand CinemaIssue No. 209
Hidden Forces: Childhood, Commerce and Cost in Granaz Moussavi’s When Pomegranates Howl Words Kit MacFarlane 30 August 2021 Australian and New Zealand CinemaIssue No. 209
Fragmented Feelings: Matthew Victor Pastor’s The Neon Across the Ocean Words Nicholas Godfrey 30 August 2021 Australian and New Zealand CinemaIssue No. 209
Swimming Through Time: Sally Aitken on Playing with Sharks: The Valerie Taylor Story Words Oliver Pfeiffer 30 August 2021 Australian and New Zealand CinemaIssue No. 209
Breaking the Waves: Defeating Discrimination in Christopher Nelius’ Girls Can’t Surf Words Greta Parry 30 August 2021 Australian and New Zealand CinemaIssue No. 209
‘The Stars Are All Strange Here’: Cultural Memory and Forgetfulness in Roderick MacKay’s The Furnace Words Jessica Kiang 10 May 2021 Australian and New Zealand CinemaIssue No. 208
Dry Fidelity: Robert Connolly’s The Dry and Big-screen Crime Adaptation Words Mel Campbell 10 May 2021 Australian and New Zealand CinemaIssue No. 208
Bird’s-eye View: Glendyn Ivin on Chance and Nature in Penguin Bloom Words Jasmine Crittenden 10 May 2021 Australian and New Zealand CinemaIssue No. 208
Out of Breath: Timely Issues and Old Gender Tropes in Seth Larney’s 2067 Words Bronwyn Lovell 10 May 2021 Australian and New Zealand CinemaIssue No. 208
Shooting for the Stars: Luke Sparke’s Occupation: Rainfall and the Elusive Australian Blockbuster Words David Michael Brown 10 May 2021 Australian and New Zealand CinemaIssue No. 208
Rocky Road: Running From Responsibility in Kurt Martin’s Moon Rock for Monday Words Thomas Redwood 10 May 2021 Australian and New Zealand CinemaIssue No. 208
Free Country: Colonial Incursions in Stephen Maxwell Johnson’s High Ground Words Nicholas Godfrey 25 January 2021 Australian and New Zealand CinemaIssue No. 207
Mending Fences: Animosity and Adaptation in Jeremy Sims’ Rams Words Barnaby Smith 25 January 2021 Australian and New Zealand CinemaIssue No. 207
Hogan’s Heroes: Star Image in Dean Murphy’s The Very Excellent Mr. Dundee Words Jake Wilson 25 January 2021 Australian and New Zealand CinemaIssue No. 207
Elusive Connections: Ritual and Reconstruction in Jayden Stevens’ A Family Words Gabrielle O'Brien 25 January 2021 Australian and New Zealand CinemaIssue No. 207
Bathing in Genre: Homage and Experimentation in Parish Malfitano’s Bloodshot Heart Words Dave Crewe 25 January 2021 Australian and New Zealand CinemaIssue No. 207
Reflections on a Shared History: Monica Zanetti on Ellie & Abbie (& Ellie’s Dead Aunt) Words Stephen A Russell 25 January 2021 Australian and New Zealand CinemaIssue No. 207
Mum’s Not the Word: Identity and Autonomy in Curtis Vowell’s Baby Done Words Mel Campbell 25 January 2021 Australian and New Zealand CinemaIssue No. 207
Alone Together: Gregor Jordan on Adapting the Intangible in Dirt Music Words Stephen A Russell 19 October 2020 Australian and New Zealand CinemaIssue No. 206
House of Horrors: Ageing and Loss in Natalie Erika James’ Relic Words Josh Nelson 19 October 2020 Australian and New Zealand CinemaIssue No. 206
All You Can Be: Self-actualisation, Self-acceptance and Disability in Paul Barakat’s Kairos Words Hanna Schenkel 19 October 2020 Australian and New Zealand CinemaIssue No. 206
Performance, Transgression and Transformation: Angie Black’s The Five Provocations Words Gabrielle O'Brien 19 October 2020 Australian and New Zealand CinemaIssue No. 206
Aussie Mayhem: Judd Tilyard on Jesse O’Brien’s Two Heads Creek Words Oliver Pfeiffer 19 October 2020 Australian and New Zealand CinemaIssue No. 206
Capricious Childhood: Confronting Family Life in John Sheedy’s H Is for Happiness Words Susan Bye 03 August 2020 Australian and New Zealand CinemaIssue No. 205
Australian Mythology: The Selective Celebration of Rachel Griffiths’ Ride Like a Girl Words Debbie Zhou 03 August 2020 Australian and New Zealand CinemaIssue No. 205
A Familiar Track: Looking Under the Hood of Owen Trevor’s Go! Words Travis Johnson 03 August 2020 Australian and New Zealand CinemaIssue No. 205
Seeing Through the Disguise: Leigh Whannell’s The Invisible Man Words Elizabeth Flux 03 August 2020 Australian and New Zealand CinemaIssue No. 205
Not Another Dying Girl: How Shannon Murphy’s Babyteeth Challenges a Weary Trope Words Jessica Kiang 04 May 2020 Australian and New Zealand CinemaIssue No. 204
The Political Is Personal: Helen Reddy and the Generational Politics of I Am Woman Words Alexandra Heller-Nicholas 04 May 2020 Australian and New Zealand CinemaIssue No. 204
Maternal Instinct: Genre, Grief and Mental Illness in Kim Farrant’s Angel of Mine Words Dave Crewe 04 May 2020 Australian and New Zealand CinemaIssue No. 204
‘Are You Not Entertained?’: Maziar Lahooti’s Below and the Morality of Pay-per-view Violence Words Mel Campbell 04 May 2020 Australian and New Zealand CinemaIssue No. 204
The Pen Is Mightier than the Gun: Justin Kurzel’s True History of the Kelly Gang and Punk Historiography Words Alexandra Heller-Nicholas 28 January 2020 Australian and New Zealand CinemaIssue No. 203
Lust in Space: Teenage Queerness and Connection in Samuel van Grinsven’s Sequin in a Blue Room Words Laurence Barber 28 January 2020 Australian and New Zealand CinemaIssue No. 203
Dawn of the Dad: Masculinity and Maturity in Abe Forsythe’s Little Monsters Words Mel Campbell 28 January 2020 Australian and New Zealand CinemaIssue No. 203
Artificial Inheritance: Robotics and Responsibility in Grant Sputore’s I Am Mother Words Dave Crewe 28 January 2020 Australian and New Zealand CinemaIssue No. 203
The Lingering Melodies of Trauma: Ben Lawrence’s Hearts and Bones Words Hanna Schenkel 28 January 2020 Australian and New Zealand CinemaIssue No. 203
The Price of Fish: Slavery and Social Responsibility in Rodd Rathjen’s Buoyancy Words Stephen A Russell 28 January 2020 Australian and New Zealand CinemaIssue No. 203
Hell Hath No Fury: Tony D’Aquino, Andrew Marriott and Lisa Shaunessy on The Furies Words Oliver Pfeiffer 28 January 2020 Australian and New Zealand CinemaIssue No. 203