In the third instalment of a series in which we shine a spotlight on Critics Campus’s illustrious alumni, we speak to Kristen S. Hé (2015 cohort), Keva York (2017 cohort) and Merryana Salem (2020 cohort) about where their professional paths have led since their participation in MIFF’s incubator program for emerging critics.

Programmer Kate Jinx reminisces about the movies, meetings and merriment of Berlinale 2024, including several films to keep an eye out for this year.

We speak to writer/director John Harvey, whose film Katele (Mudskipper) won the VicScreen Erwin Rado Award for Best Australian Short Film, about submitting to MIFF, being part of a community and how festivals can foster creativity.

Programmer Kate Fitzpatrick visits English haunts both old and new – while, of course, catching the latest flicks – as part of her UK trip for the BFI London Film Festival.

Program Manager Mia Falstein-Rush returns to New York City – this time to attend the 61st New York Film Festival and the 35th NewFest, as well as to present the MIFF 2023–screened Safi Faye retrospective at the Museum of the Moving Image.

We speak to Award for Emerging Australian Filmmaker recipient Annelise Hickey about taking the leap and submitting her film to MIFF as well as her experiences and learnings from the festival.

Programmer Kate Jinx revisits the cinema, sun and Cynar spritzes of Venice, including highlights from its eponymous film festival’s 80th edition – along with a pit stop at London’s Open City Documentary Festival.

Critics Campus participant Christy Tan discusses Hou Hsiao-hsien’s 2001 feature, with particular focus on its subordination of narrative to the evocation of a certain place and time in its protagonist’s life.

Critics Campus participant Charles Carrall speaks to director Sue Brooks about the making of her 2003 feature Japanese Story, shooting the film in the Pilbara and Toni Collette wearing pants.

Critics Campus participant Eric Jiang speaks to writer/director Lila Avilés about her intuitive approach to casting and its central role in creating the immersive, deeply empathetic atmosphere of Tótem.