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Revue
Dark Illusions: Niki de Saint Phalle’s Un rêve plus long que la nuit
Critics Campus 2024 participant Isabella Gullifer-Laurie writes on Niki de Saint Phalle’s 1976 feature, a surreal journey into a whimsical, frightening and aggressively sexualised dream world.
Sweet Dreams – Four Ways
Ena Sendijarević’s acidic satire Sweet Dreams receives some critical attention from four of our Critics Campus participants: Alice Bellette, Grace Boschetti, Austin Lancaster and Dylan Rowen.
Tropical Reveries: The Lyrical Intimacies of Viet and Nam
Critics Campus 2024 participant Nicole Cadelina explores the textures and spaces of Trương Minh Quý’s poetic excavation of queer romance and memory.
Malu – Four Ways
Pedro Freire’s resonant portrait Malu gets the critical treatment from four of our 2024 Critics Campus participants: Daniel Tune, Isabella Gullifer-Laurie, Nicole Cadelina and Tara Kenny.
Colonial Malaise: Andy Burkitt’s The Organist
Critics Campus 2024 participant Alice Bellette unpacks a gory and Gothic new Australian horror comedy, finding a satirical representation of the present that fails to wholly reckon with the nation’s past.
A Stranger From the Beginning: Radical Contradictions in the Cinema of Yvonne Rainer
Critics Campus 2024 participant Grace Boschetti explores the career of innovative filmmaker Yvonne Rainer, devoting particular focus to her 1974 feature Film About a Woman Who… and its intimate, unorthodox deconstruction of a woman’s conflicting feelings about her relationship.
“There Is Still Time”: Shimmering Trans Temporalities in Jane Schoenbrun’s I Saw the TV Glow
Critics Campus 2024 participant Dylan Rowen discusses the reflections on trans and queer experience in I Saw the TV Glow’s existential horror–infused tale of hope and letting go.
Piecing Together the New Millennium: Jia Zhang-ke’s Caught by the Tides
Critics Campus 2024 participant Daniel Tune investigates Caught by the Tides, a collage-like work that travels through its director’s films and personal archival material to tell a story of separated lovers, lost worlds and out-of-control technological change.
Good Cop, Bad Cop: Sandhya Suri’s Santosh
Critics Campus 2024 participant Tara Kenny examines Santosh, which depicts a woman’s attempt to solve a brutal crime while navigating a hostile male-dominated police department – and which shows that good intentions are far from enough to reform a corrupt system.
Fake It So Real: Miguel Gomes’s Grand Tour
Critics Campus 2024 participant Austin Lancaster looks at the intersecting layers of artifice in Miguel Gomes’s fantastical journey through East and South-East Asia, past and present.
An Eternal Present: Hou Hsiao-hsien’s Millennium Mambo
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.