“That’s one of the beautiful things about the Underground, you don’t need production companies and big budgets and lots of money. You just need an idea.“
Browsing: Film
Family! We love to hate them!
Written by Jack Clark, from a story with co-director Jim Weir, the film follows bride-to-be Irene (Shabana Azeez) who is invited by her groom Louie (Mackenzie Fearnley) to attend his bucks party in a cabin in the woods.
With the release of Puan (2024), co-directed with María Alché, Honi Soit sat down to ask Naishtat about comedy, time, existentialism, and their place in the ever-growing and perplexing canon of New Argentine Cinema.
Noticing a gap in the market in Australia, Mumbi Hinga joined forces with longtime-collaborator Safia Amadou, and the Arts and Cultural Exchange (ACE) to provide a platform for African voices to be heard through film here.
Bigfoot fucks, but not enough — and it’s breaking the Zellner brothers’ hearts.
While the tension between these two women is a focal point of the film, it is a poignant reminder that the industry intentionally manipulates the lives and experiences of women to distract from the deeply misogynistic foundation it thrives on.
The act of watching the documentary felt pervasive, granting the audience an incredibly intimate dissection of Shiori Itō’s life. She presents traumatising events in such a calm and clinical way through her internal monologue running through the film that you could almost forget she is investigating her own assault.
The way Kapadia shoots light is unsurprisingly beautiful, ethereal and gauzy in some moments, and golden and decadent in others.
What ensues is an incendiary and hilarious charting of the real-life story of Kneecap’s rise from playing deadbeat pubs to becoming a symbol of a larger civil rights movement about the Irish language, clashing with Protestant opposition, censorship, paramilitary groups, violent cops and heavy comedowns.
