Issue No. 213
August 2022
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
Celia
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
