Revue

Critics Campus participant James Walsh speaks to The Home Song Stories director Tony Ayres about exposing the personal, the power of storytelling and what’s next for the screen.

Critics Campus participant Lamya Nawar speaks to Hannah Barlow about self-awareness, self-forgiveness, and the power and perils of social media, as tackled in the pop-horror film Sissy.

Critics Campus participant Digby Houghton speaks to Senses of Cinema co-director John Hughes about subversion, collective filmmaking and historiography.

Critics Campus participant Andrew Fraser speaks to Petrol writer/director Alena Lodkina about creative synergies, cultural cringe and challenging audiences to watch films as co-creators.

Critics Campus participant Lily Rodgers speaks to director Beck Cole about collaboration, revelation and transformative storytelling as embodied in the dynamic anthology We Are Still Here.

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 Isabelle Carney speaks to Lime Parfait director Pat Mooney about intent, nostalgia and the ethics of the fib.