Kasimir Burgess’s mesmerising documentary Iron Winter is approached from four different angles by MIFF 2025 Critics Campus participants Monique Nair, Claire Ollivain, Thomas Phillips and Armani Hollindale.

Paula Tomás Marques’s gloriously form-exploding film Two Times João Liberada is approached from four different angles by MIFF 2025 Critics Campus participants Amelia Leonard, Parth Rahatekar, Fred Pryce and Sophie Terakes.

Critics Campus 2025 participant Armani Hollindale dives into the themes, motifs and inspirations, as well as the inter-bleeding between representation and reality, that flow within Kristen Stewart’s feature directorial debut The Chronology of Water.

Critics Campus 2025 participant Thomas Phillips examines the ambivalent documentation of aesthetics and artifice, glamour and illusion, and the industry’s manufacturing of desire in Model, Frederick Wiseman’s revelatory film about fashion.

Critics Campus 2025 participant Monique Nair traverses the oneiric, artfully punk milieu of Robina Rose’s third and final film, Nightshift: a mood piece that illuminates the hidden worlds of hotel guests and staff.

Critics Campus 2025 participant Sophie Terakes unpacks the entrancing depictions of devotion, emotional displacement and desire in Lucile Hadžihalilović’s film.

Critics Campus 2025 participant Claire Ollivain delves into the metatextual sensorial epic that is Bi Gan’s Resurrection, finding that the film champions cinephilia and the experiential in a world of simplistic and subjugating screens.

Guest author Vyshnavee Wijekumar writes on the historical context behind the 1977 Sri Lankan feature, screening as part of MIFF’s Restorations strand.