Welcome to Ugly Country: Nostalgia and Nationalism in Stephan Elliott’s Swinging Safari

Musical Chairs: Perspective and ‘Heavy’ Humour in Ben Elton’s Three Summers

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

Game of Throwns: Government Inaction on the Senate Inquiry