Issue No. 214
November 2022
A Little Less Conversation: The Convenient Omissions of Baz Luhrmann’s Elvis
Spinning Tales: Myth and Magic in George Miller’s Three Thousand Years of Longing
Speaking in Riddles: Sex, Comedy and Subtitles in Armağan Ballantyne’s Nude Tuesday
Taking Flight: Deception and Impostor Syndrome in Michelle Savill’s Millie Lies Low
Bad Influence: Hannah Barlow and Kane Senes on Balancing Horror and Social Media Satire in Sissy
Precious Time: Family Life and Togetherness in Sari Braithwaite’s Because We Have Each Other
Starting Afresh: Trauma and Compassion in Lachlan McLeod’s Clean
Cathartic Moves: Competition and Community in Luke Cornish’s Keep Stepping
Life on Show: The Ethical Quandaries of Jason van Genderen’s Everybody’s Oma
The Past Flows into the Future: Kasimir Burgess’ Franklin
Out for Blood: Identity, Colonialism and Vampires in Firebite
No Place to Run: Inescapable Politics in Mounia Akl’s Costa Brava, Lebanon
Out of Water: Genre, Turkish Cinema and Emin Alper’s Burning Days
Cinema Science: Into the Multiverse
Entangled Lives: Trauma, Attachment and Survival in My Brilliant Friend and Pachinko
Making a Scene: Telling Stories and Engaging Audiences on TikTok
Finding the Rhythm: Ambition and Responsibility in Dingo
Strictly Ballroom
Goodbye Neighbours; Hello Reality
What Have the ABC Archives Ever Done for Us?
Bringing the World to Australia: Benjamin Zeccola on Palace Cinemas’ Global Festival Slate
