Hierarchies of Horror: The Violent Refrains of Jennifer Kent’s The Nightingale

Love Is in the Air: Wayne Blair’s Top End Wedding and the Rom-com’s New Direction

Girls Behaving Badly: Love, Honour and Disobedience in Sophie Hyde’s Animals

Sin City: Diaspora, Displacement and Matthew Victor Pastor’s Melodrama / Random / Melbourne

Arid Visions: Reflections in the Dust, Gendered Violence and Experimental Cinema

Kiss Me Deadly: Robbie Studsor on Blowing a Burning Kiss to Film Noir

A School of Fishers: Ms Fisher’s Modern Murder Mysteries and the Lineage of a Franchise

Working-class Heroes: ABC’s The Heights and Social Stratification

Quiet Night Thoughts: Warped Time in Three Asian Arthouse Films

Art as Resistance: History and the Individual in Jafar Panahi’s 3 Faces

Moving Forward in Circles: Repetition and Reflection in Hong Sang-soo’s Grass

Things to Come: The Wandering Earth and Chinese Cinema’s Growing Predominance

Seeds of Change: Damon Gameau’s 2040 and Sustainable Futures

Destructive Pasts, Hopeful Possibilities: The Simulated Environment in Awavena and Did You Ask the River?

Dying a Woman With Dignity: Becoming Colleen and Late-life Gender Transition

Hitting the Right Note: Janine Hosking’s The Eulogy and the Perils of Praise

Setting the Record Straight: Greg Carey and Wade Jackson’s Waiting: The Van Duren Story

Aural Reflections: Music, Self and Objectivity in Now Sound: Melbourne’s Listening and Her Sound, Her Story

Witches and Faggots, Dykes and Poofters

A Dense Web of Relationships: How Film Culture Sustains the Screen Industries

Spending Not-so-liberally: Videogames Remain Unfunded

Film Podcasting: One for the Fans

Lego Masters: Reality TV With a Distinctly Local Flavour