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Doosie Morris

Doosie Morris

After years of travelling and living abroad throughout her twenties, working in education and bars, chronicling skateboarding as a roving reporter, and generally living it up, Doosie Morris resettled in Melbourne and began a part time Bachelor of Arts. Undertaking a double major in Cinema Studies and English inspired a move towards film criticism, and hopes of developing a creative and professional outlet that combines her interests in film and writing.

 Her cinematic curiosities and fledgling forays into film writing explore youth cultures, the teen experience, quirky European comedy, 90’s Australiana and American Indiewood. Raw tales of emotional, cultural or societal malfunction particularly peak my interest, along with absurdist farces and kooky, observant comedies.

She believes in watching all films with a critical mind and an open heart and love being surprised by a great movie she knows nothing about. Slasher films are the lonely exception to her otherwise solid ‘give it a go’ policy. She has no stomach for blood and gore, but is a fan of strong coffee, new socks, cold beer, deep breathing and a good laugh.

Age:   33

City: Melbourne

Twitter: @doosiemorris


Type of cinema that most excites me:

The genre or style can change with mood but consistently cinema excites me most when it strikes an interesting or unusual balance between the credible and the curious and shows me something that lingers.

A film that changed me/my mind is:

Harmony Korine’s, Springbreakers because for me it shook up some ideas I had about what film is supposed to and can be. Its loopy impressionistic vibe opened my mind to more aesthetic modes of story telling. It’s a crazy, very clever film that has a lot to say for itself and does so in the weirdest ways.

I’m looking forward to the Critics Campus because:

I’m sure the films, the company and the process will be engaging and inspiring in so many ways. Even more thrilling though, no housework for a week.

Cinema excites me because:

It can speak to us all – and it never runs out of things to say. It’s accessible and dynamic and so wildly diverse. There’s a film to compliment every mood and moment of life and it’s exciting to find films that hit the spot, or shift the target.

Who is your favourite film critic and why?

David Thomson: casual, erudite, lateral and insightful – funny too. His knowledge of cinema is encyclopaedic and his love for it is boundless. He has a gift for readable, no-nonsense fare and his adoration and respect for the history and art of film oozes forth in all his work.

The future of Film Criticism is:

Diverse. Technology means there’s a critic for every type of movie-goer, and an audience for every critic. The multiplatform, multimedia, self-publishing opportunities today along with more traditional media and academic outlets mean increasingly lively and varied forms of film discussion are available on a huge range of levels, via numerous modes with a virtually limitless reach.

Film Criticism is important because:

It helps us get the most out of film. Criticism means the film doesn’t end when the credits roll; further discussion and interpretation, debate and reflection helps draw the most out of a medium that was, after all, designed to share.


The MIFF film I'm most looking forward to:

Chevalier, because blokes out bloking each other on The Aegean just to kill time sounds like a winning combination of gorgeous scenery and rollicking human follie.