Critics Campus 2025 participant Fred Pryce speaks to Happyend director Neo Sora about the ills of capitalism, colonialism and surveillance, as well as the resistive power of more communitarian forms of living.

Critics Campus 2025 participant Claire Ollivain speaks to The Golden Spurtle director Constantine Costi on how community, tradition and finding connection amid the capitalist grind informed the creation of his whimsical, heartwarming documentary.

Critics Campus 2025 participant Monique Nair speaks to Kalu Oji about diaspora, belonging, family and home, as well as the conflict between community and gentrification, as dramatised in his touching father–son tale Pasa Faho.

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 Parth Rahatekar speaks to Vivek Chaudhary about activism, government corruption and caste as experienced by the disadvantaged Indian farming community documented in his film I, Poppy.

Critics Campus 2025 participant Amelia Leonard discusses Happyend’s masterfully tightrope-treading portrayals of youth, rebellion and coming of age amid an increasingly oppressive near-future Japan.

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.