Aftersun and the Great Unknown
Critics Campus participant Lily Rogers examines the calibrations of suggestion, subtlety and reticence in Charlotte Wells’s Aftersun.
By Lily Rodgers | 18 Aug 2022
The Australian Ugliness: Thomas M. Wright’s The Stranger
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.
Andrew Fraser
18 Aug 2022
Homeward Bound: An Interview with Sue Thomson
Critics Campus participant Ellen O’Brien speaks to Under Cover director Sue Thomson about her connection to older women and homelessness, navigating the public storytelling of private and intimate experiences, and working with Hollywood star Margot Robbie.
Ellen O’Brien
17 Aug 2022
The Smaller Picture: Itsy Bits of Life in Marcel the Shell with Shoes On
Critics Campus participant Isabelle Carney reflects on perspective, empathy and context, as depicted in Marcel the Shell With Shoes On.
Isabelle Carney
16 Aug 2022
Video Essay: The Afterlight
Critics Campus participant Digby Houghton questions the role of contemporary cinephiles in today’s climate. Using Charlie Shackleton’s single-print film The Afterlight as a backdrop, Houghton explores ephemerality, memorabilia and bias in film preservation.
Digby Houghton
13 Aug 2022
Intimacy and Insight: Jane by Charlotte and Documentary as Personal Care
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.
James Walsh
12 Aug 2022
Out With the Old: Plan 75, Incredible but True and the Fear of Ageing on Screen
Critics Campus participant Brooke Heinz explores two MIFF 70 sci-fi films’ distinctly executed yet converging warnings against resisting the course of nature.
Brooke Heinz
11 Aug 2022
Showing 12 to 18 of 18 rows.