Issue No. 196
May 2018
Ties That Bind: Kriv Stenders’ Australia Day and the Problems of Patriotism
Sense and Serendipity: David Wenham’s Ellipsis
Stealing Time: Fatherhood, the ‘Third Space’ and Sam Voutas’ King of Peking
The Pain of Purity: Abuse and Collusion in Vivian Qu’s Angels Wear White
Salt of the Earth: Virtue and Vengeance in Mohammad Rasoulof’s A Man of Integrity
Turning the Lens: Looking and Reliving in Hong Sang-soo’s Claire’s Camera
States of Loneliness: Proximity and Distance in On the Beach at Night Alone
Cutting Through the Chanbara Film: Takashi Miike’s Blade of the Immortal
Singing One’s Story: Keeping Custom and Country in Westwind: Djalu’s Legacy
‘Don’t Do It Again’: Hearing, Seeing and Deep Listening in After the Apology
Changing Tides: Karina Holden’s Blue, the Enviro-doc and Conservationism
High Price Tag: Art and Absolution in Have You Seen the Listers?
Too Far North: The Self-serving Cinema Vérité of Atlantis, Iceland
Living in America: Expression, Representation and Kate Hickey’s Roller Dreams
The Art of Meta-morphosis: Julian Rosefeldt’s Manifesto
Room to Move: Amiel Courtin-Wilson’s The Silent Eye
Making Waves in a Man’s World: Jane Campion’s Women in The Piano and Top of the Lake: China Girl
Against the Grain: The Documentary Sensibility of Sue Brooks’ Fiction Filmmaking
Zero Tolerance for Screen Industry Sexual Harassment
Meta Essays: Critics’ Choice IV at the International Film Festival Rotterdam 2018
Love Is in the Airwaves – and It’s Not Always Pretty
