Legacy of a Law-breaker: Andrew Dominik’s Chopper Turns Twenty
Words Kenta McGrath
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Legacy of a Law-breaker: Andrew Dominik’s Chopper Turns Twenty
Bird’s-eye View: Childhood, Grief and Community in Emu Runner
Words Aimee Knight
Candid Camera: Ryūsuke Hamaguchi’s Happy Hour
Words Anthony Carew
Assembling the Debris: Russia 1985–1999: TraumaZone
Words Alex Gendler
‘Let’s Go Shopping!’: Tony Barber and Philip Brady on the Golden Age of Australian Game Shows
Words Adrian Schober
Beautiful Women and No Mirrors: Gillian Armstrong’s Women He’s Undressed
Words Mel Campbell
In the Driver’s Seat: The Relatable Radicalism of David Easteal’s The Plains
Words Glenn Dunks
John Hurt on Nineteen Eighty-Four
Words Fiona Kieni
Brave New Sector: An Industry Adapts
Words Rochelle Siemienowicz
Soaring with Her Own Wings: Em Baker on Marriage, Movie-making and I Am No Bird
Words Hanna Schenkel
Painting a Motion Picture: An interview with Shaun Tan
Words Rjurik Davidson
Old Hands, New Breed: Mad Max: Fury Road and Evolving Gender Roles
Words Cavan Gallagher
Echoes of Tradition: Paul Williams’ Elegy for Geoffrey Gurrumul Yunupingu
Words Felicity Ford
Her Brilliant Career: Gillian Armstrong on the Australian Screen Then and Now
Words Ella Donald
Outback Ethnography: Revisiting Fred Zinnemann’s The Sundowners
Words Neil Sinyard
Cinema for Claustrophiles: Virtual Reality at the Adelaide Film Festival and Beyond
Words Kit MacFarlane
Sisters Doing It for Themselves: Deniz Gamze Ergüven’s Mustang
Words Sarah Ward
Bad Influence: Hannah Barlow and Kane Senes on Balancing Horror and Social Media Satire in Sissy
Words Stephen A Russell
Live Performance: Acting and Adaptation in Alison Maclean’s The Rehearsal
Words Anthony Carew
Crises of Faith: Christianity, Aboriginal Spirituality and Colonisation in Warwick Thornton’s The New Boy
Words Anthony Carew
Dry Fidelity: Robert Connolly’s The Dry and Big-screen Crime Adaptation
Words Mel Campbell
Looking to Spring: Fear and Regeneration in Noora Niasari’s Shayda
Words Annika Morling
Abstracts of Violence: Amiel Courtin-Wilson and Michael Cody’s Ruin
Words Scott McCulloch
Mother Tongue: She Who Must Be Obeyed Loved and Aboriginal Women’s Stories
Words Paola Balla
First Person Plural: Art and Provocation in Larissa Behrendt’s You Can Go Now
Words Thomas Redwood
Women’s Work: Respect and Remoteness in Pete Gleeson’s Hotel Coolgardie
Words Lauren Carroll Harris
Sexual Healing: Feminism, Porn and Self-acceptance in Morgana
Words Rochelle Siemienowicz
Sacred Arts: Devotion and Disillusionment in Chaitanya Tamhane’s The Disciple
Words Anthony Carew
On the Melbourne Media Coverage of the Death of David Hookes
Words John Schwartz
Not So Wedded to Tradition: Ali’s Wedding, the ‘Ethnic Rom-com’ and Realistic Representation
Words Sheree Joseph
Every Minute Counts: TikTok Comes of Age in Scattered
Words Kim Munro
House of Horrors: Ageing and Loss in Natalie Erika James’ Relic
Words Josh Nelson
The Patriarchy Laid Bare: Ukraine Is Not a Brothel
Words Karen Pickering
Tip of the Landfill: The ABC’s War on Waste
Words Sam van Zweden
Art as Resistance: History and the Individual in Jafar Panahi’s 3 Faces
Words David Heslin
Kitchen Nightmares: What Into the Shadows Says About the Local Film Industry
Words Gil Scrine
Frozen Hearts: Coming of Age in Somersault
Words Jarrod Sturnieks
Tragedy and Levity: Philippe Mora, Family History and Monsieur Mayonnaise
Words Lauren Carroll Harris
No Spandex Required: Cleverman, Indigenous Stories and the New Superhero
Words Cavan Gallagher
After Priscilla: The Queer Screen Twenty-one Years On
Words Glenn Dunks