‘New Rivers Spin Inside’: Women and Witchcraft in Goran Stolevski’s You Won’t Be Alone

In the Driver’s Seat: The Relatable Radicalism of David Easteal’s The Plains

Future Projection: The Emotional Landscape of Ivan Sen’s Loveland

Aspirational Delight: The Bland Fantasies of Renée Webster’s How to Please a Woman

Breaking Point: Grief and Rebirth in Matthew J Saville’s Juniper

Staying Afloat: Tyler Atkins on Bosch & Rockit

‘Now You’re at Home’: The Power of Music in Macario De Souza’s 6 Festivals

World Without a Map: The Flattening Perspective of Jennifer Peedom’s River

Mechanisms of Control: Yaara Bou Melhem on Unseen Skies

Stolen Lives: Confronting the Past in Allan Clarke’s The Bowraville Murders

Burnishing an Icon: Madeleine Martiniello on Palazzo di Cozzo

An Acquired Taste: Warwick Ross and Rob Coe on Blind Ambition

Lingering Notes: A Song Cycle Remembered in Philippa Bateman’s Wash My Soul in the River’s Flow

Adelaide Dreams Electric: Immersive Possibilities at Adelaide Fringe

A God Is Born: Religion and the Absurd in Ritwik Pareek’s Dug Dug

Cinema Science: Cosmic Collisions and Disaster Denialism in Don’t Look Up

Period Drama: A Turning Red Study Guide

War Stories: Media Coverage of the Russian Invasion of Ukraine

‘Mixed Up with Other People’s Dreams’: The Tangled Webs of Time in Summer


Cinematic Devices: Darcy Yuille on One Punch and Using Everyday Technology to Advantage

Forty Years of the Australian Children’s Television Foundation

Student Films Take Centre Stage in the AFTRS Documentary Showcase

End of an Era: Raging Fire and the Shifting Fortunes of Hong Kong Cinema

Sustainable Growth for All: Meet Australia’s First Videogame Union