Tammer, by building sympathy in Neave and then forcing the viewer to confront his war crimes, builds a microcosm of Australian war remembrance that all Australians should reconsider in the age of Ben Roberts-Smith.
Browsing: Film festival
To indulge in a story that does not abuse — hyperbolise or appropriate — mysticism was exciting, sparking hope within me that perhaps it is still possible for the beauty of cultural practices to be conveyed to audiences unfamiliar with different ways of living and believing.
Simon epitomises one of the most insidious types of men; their need for control festers quietly when left unaddressed, posing a significant danger to women. He doesn’t love Ariane, he yearns to control her.
Light Years so beautifully displays Cotton’s adoration for light, nature, and freedom through its cinematography, orchestration, and narration, carefully directed by Kathryn Millard.
The multifaceted nature of betrayal is on display; the betrayal of fathers, betrayal by people smugglers, and ultimately, the betrayal of the Palestinian people by Arab leaders.
Mitchell Leisen’s film Midnight (1939) is a battle-of-the-sexes rom-com which features fun plot-twists and identity reversals, making it a staple of the screwball comedy genre.
Film festival programming might not have been Lisa Rose’s first calling, but she’s glad that she can now be a “professional gay.”
For the Mardi Gras Film Festival, the erasure of the human subject is a liberatory act of universalising the queer experience
The early days of film appreciation at Sydney University led to the birth of the Sydney Film Festival and even aroused suspicions from ASIO.
The film festival digs deeper to unearth the weird and wonderful of up and coming cinema.