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.

Critics Campus participant Lamya Nawar dissects the inertia and contrivances – depicted and in delivery – at the heart of Christian Tafdrup’s Speak No Evil.

Critics Campus participant Isabelle Carney speaks to Lime Parfait director Pat Mooney about intent, nostalgia and the ethics of the fib.

Critics Campus participant Brooke Heinz speaks to producer Kerry Warkia about the importance of representation and collective creativity, as exemplified by the film Kaīnga and its predecessors Waru and Vai.

Critics Campus participant Lily Rogers examines the calibrations of suggestion, subtlety and reticence in Charlotte Wells’s Aftersun.

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.

Critics Campus participant Ellen O’Brien speaks to Under Cover director Sue Thomson about her connection to older women and homelessness, navigating the public storytelling of private and intimate experiences, and working with Hollywood star Margot Robbie.

Critics Campus participant Isabelle Carney reflects on perspective, empathy and context, as depicted in Marcel the Shell With Shoes On.

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.

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.