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

Sounds of Loss: Time and Displacement in Allison Chhorn’s The Plastic House

Forever Young: Music and Mystery in Sam Zubrycki’s Miguelito: Canto a Borinquen

Singing from the Rooftops: Art, Ambition and Hometown Pride in Liselle Mei’s Love Opera

Making Visible: Out Here, Love Bites and LGBTQIA+ Documentary on the Small Screen

Sweet, Sour and Spicy Country: Isolation as Performance in Warwick Thornton’s The Beach

Signs and Wonders: Bringing The Luminaries to Screen

Hidden Idols and Clued-in Contenders: The Evolution of Australian Survivor

‘Rummaging Through the Rubble’: Creative Constraints in Prototype’s Rapid-response Care Package

Laughter Through Tears: Palestine and Self-portraiture in the Films of Elia Suleiman

Indeterminate Past: Death, Regret and Time Travel in Mattie Do’s The Long Walk

Cinema Science: Picking Up the Frequencies of The Dish

Counterfeit Images: A History of Blackface on Australian Television

Pandemic Paradox: Navigating Technology in the Time of COVID-19

‘The Show Must Go On’: Transgression and the Carnivalesque in Moulin Rouge!

The Cheaters

The Winter of Our Discontent: Australian Cinema Under Lockdown

Infectious Scrolling: Social Media, Mental Health and COVID-19

Belonging and Representation: The 2020 Freeplay Independent Games Festival

When Live Venues Become Screen Hubs: The Sydney Opera House Goes Online