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.

Critics Campus participant Christy Tan takes a look at the political and aesthetic questions posed by William Greaves’s radical 1968 docufiction experiment.

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.

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.

Critics Campus participant Ellen O’Brien reflects on the entanglement of fascination, aspiration and alienation when watching screen portrayals of wealth, using Halina Reijn’s Bodies Bodies Bodies as her jumping-off point.

Hannah Barlow and Kane Senes’s Sissy receives some critical attention from four of our 2022 Critics Campus participants: Isabelle Carney, James Walsh, Digby Houghton and Lily Rodgers.

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.