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 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 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.

Critics Campus participant Brooke Heinz explores two MIFF 70 sci-fi films’ distinctly executed yet converging warnings against resisting the course of nature.

Critics Campus 2021 alumnus Jared Richards dives head-first into the manic imagery and manifold references of Dasha Nekrasova’s provocative The Scary of Sixty-First.

Critics Campus participant Vyshnavee Wijekumar takes an in-depth look at Off Country and The Kids, two documentaries that explore the experiences of young people within vulnerable communities across different eras and geographic locations.

Critics Campus 2021 participant Tiia Kelly unpicks the thematic and artistic threads weaving together the short films in the Bodies in Motion package.