Salvation is only a sing-a-long away, writes Mary Ward.
Where have all the funny people gone, wonders Luca Moretti.
Sophie Gallagher looks at the death of cinema and the dominance of downloads
The National have always been a ‘band of brothers’: Bryce and Aaron Dessner, Bryan and Scott Devendorf, and then there’s Matt Berninger. The group’s towering frontman is the sole figure of the band lacking a ‘brother’. He’s not an only child, as many might assume; his brother just prefers heavy metal. Tom Berninger, the younger…
Indonesia is geographically adjacent to us and has a population of 238 million people, as well as a government that celebrates and endorses the mass murdering of more than half a million people that occurred between 1965 and 1966.
Jeremy Elphick went nuts at the Sydney Film Festival.
Wadjda navigates the often non-existent line between criticism of a patriarchal state and Islamaphobia. It gives the debate – which is the euphemism for misinformed and often racist assertions about what Islam is – complexity.
Stoker isn’t marked by the unabated savageness of Park’s Korean offerings, but rather restrains itself until tension builds overlong; bursting into sexual violence and bubbling back down again.
Only God Forgives is the second collaboration between Ryan Gosling and Nicolas Winding Refn, after 2011’s Drive. It can be a disaffecting, disorienting experience.
Upstream Colour is a rare, and paradoxical, example of a film that makes complete sense in of itself, but is impossible to summate.