Your Money, My Problem: Halina Reijn’s Bodies Bodies Bodies
Critics Campus participant Ellen O’Brien reflects on the entanglement of fascination, aspiration and alienation when watching screen portrayals of wealth, using Halina Reijn’s Bodies Bodies Bodies as her jumping-off point.
By Ellen O’Brien | 23 Aug 2022
Sissy – Four Ways
Hannah Barlow and Kane Senes’s Sissy receives some critical attention from four of our 2022 Critics Campus participants: Isabelle Carney, James Walsh, Digby Houghton and Lily Rodgers.
22 Aug 2022
Killed Off: The Ultimate Villain in Speak No Evil
Critics Campus participant Lamya Nawar dissects the inertia and contrivances – depicted and in delivery – at the heart of Christian Tafdrup’s Speak No Evil.
Lamya Nawar
22 Aug 2022
Aftersun and the Great Unknown
Critics Campus participant Lily Rogers examines the calibrations of suggestion, subtlety and reticence in Charlotte Wells’s Aftersun.
Lily Rodgers
18 Aug 2022
The Australian Ugliness: Thomas M. Wright’s The Stranger
Critics Campus participant Andrew Fraser unravels the ethical tightrope trod by Thomas M. Wright’s The Stranger and male-focused true-crime films of its ilk.
Andrew Fraser
18 Aug 2022
The Smaller Picture: Itsy Bits of Life in Marcel the Shell with Shoes On
Critics Campus participant Isabelle Carney reflects on perspective, empathy and context, as depicted in Marcel the Shell With Shoes On.
Isabelle Carney
16 Aug 2022
Video Essay: The Afterlight
Critics Campus participant Digby Houghton questions the role of contemporary cinephiles in today’s climate. Using Charlie Shackleton’s single-print film The Afterlight as a backdrop, Houghton explores ephemerality, memorabilia and bias in film preservation.
Digby Houghton
13 Aug 2022
Intimacy and Insight: Jane by Charlotte and Documentary as Personal Care
Critics Campus participant James Walsh delves into the revelatory Jane by Charlotte, contrasting Charlotte Gainsbourg’s filmmaking approach with that of Jane B. par Agnès V. director Agnès Varda.
James Walsh
12 Aug 2022
Out With the Old: Plan 75, Incredible but True and the Fear of Ageing on Screen
Critics Campus participant Brooke Heinz explores two MIFF 70 sci-fi films’ distinctly executed yet converging warnings against resisting the course of nature.
Brooke Heinz
11 Aug 2022
A Fantasy of Control: Agency and Abrasiveness in The Scary of Sixty-First
Critics Campus 2021 alumnus Jared Richards dives head-first into the manic imagery and manifold references of Dasha Nekrasova’s provocative The Scary of Sixty-First.
Jared Richards
18 Apr 2022
Podcast: The Kids Will Be Alright
Critics Campus participant Vyshnavee Wijekumar takes an in-depth look at Off Country and The Kids, two documentaries that explore the experiences of young people within vulnerable communities across different eras and geographic locations.
Vyshnavee Wijekumar
21 Aug 2021
Showing 12 to 22 of 43 rows.