Caught on Camera: Surveillance and Abstraction in Jonathan Ogilvie’s Lone Wolf

Rays of Desire: Queer Time in Katie Found’s My First Summer

Life on Fast Forward: Mortality and Regret in Josh Lawson’s Long Story Short

Hidden Forces: Childhood, Commerce and Cost in Granaz Moussavi’s When Pomegranates Howl

Fragmented Feelings: Matthew Victor Pastor’s The Neon Across the Ocean

Swimming Through Time: Sally Aitken on Playing with Sharks: The Valerie Taylor Story

Breaking the Waves: Defeating Discrimination in Christopher Nelius’ Girls Can’t Surf

For Whom the Bell Tolls: Cathy Henkel and Sam Lara on Saying Goodbye in Laura’s Choice

Creativity in Confinement: Artistic Expression as Redemption in Alex Siddons’ The Art of Incarceration

One Final Bow: An Actor Reflects in Molly Reynolds’ My Name Is Gulpilil

Flies on the Locker-room Walls: The Managed Candour of Making Their Mark

Women on the Verge: Haifaa Al Mansour’s The Perfect Candidate

Fragments and Textures: Memory and the City in Zheng Lu Xinyuan’s The Cloud in Her Room

Cinema Science: Deconstructing the Machinery of the Mad Max Films

Trapped in the Web: Untangling The Social Dilemma

Borrowed Time: The Life and Death of the Video Store

Documenting the Self: Art, Celebrity and Storytelling in 20,000 Days on Earth

At the Threshold of Revival: Australian Cinema and the Moment of 2000 Weeks

The Sentimental Bloke

Out of the Frying Pan: Screen Australia and the Producer Offset

After the Lockdowns, Is TV Still Reminding Us of What We Needed?

Australia Unfiltered: Local Shows Get Their Moment in the Sun

Hitting the Ceiling: Barriers to Growth in the Australian Games Industry