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.
By Christy Tan | 29 Aug 2023
Marley McDonald and Brian Becker’s debut documentary Time Bomb Y2K receives some critical attention from four of our Critics Campus participants: Lauren Collee, Eric Jiang, Charles Carrall and Indigo Bailey.
23 Aug 2023
Amanda Nell Eu’s coming-of-age body horror Tiger Stripes gets the critical treatment from four of our Critics Campus participants: Christy Tan, Kevin Bui, Đăng Tùng Bach and Erika Lay.
17 Aug 2023
Critics Campus participant Charles Carrall analyses the messy ménage à trois at the heart of Ira Sachs’s film, in which sex provides plenty of questions and few answers.
Charles Carrall 17 Aug 2023
Critics Campus participant Eric Jiang discusses three MIFF films that each deal with love triangles using different narrative approaches – presenting these situations as variously damaging, ambiguous and powerfully transformative.
Eric Jiang 15 Aug 2023
Critics Campus participant Kevin Bui examines Paul Schrader’s shift away from narratives of retribution and towards tales of personal growth – culminating in one of his most hopeful, if also most difficult, films.
Kevin Bui 14 Aug 2023
Critics Campus participant Christy Tan takes a look at the political and aesthetic questions posed by William Greaves’s radical 1968 docufiction experiment.
Christy Tan 13 Aug 2023
Critics Campus participant Erika Lay analyses Mast-del and Lotus-Eyed Girl – two short films that each use the body to interrogate how erotic desire and national identity alike can be constructed and subverted via the act of looking.
Erika Lay 12 Aug 2023
Critics Campus participant Lauren Collee discusses the moral ambiguities and absolutes that emerge in Hirokazu Kore-eda’s tale of institutional malaise and tentative queer romance.
Lauren Collee 11 Aug 2023
Critics Campus participant Indigo Bailey examines the unsettling and controversial combination of horror and sensuality in Claire Denis’s brutal, beguiling 2001 feature.
Indigo Bailey 09 Aug 2023
Owen Kline’s coming-of-age black comedy Funny Pages gets the critical treatment from four of our 2022 Critics Campus participants: Andrew Fraser, Ellen O’Brien, Lamya Nawar and Brooke Heinz.
24 Aug 2022
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