Image from ‘Terrace House’
The highly addictive Japanese show returns to Netflix for another season
By Jessica Au on the
Image of Malcolm Turnbull and Emmanuel Macron
They have much in common, and yet their approaches to leadership couldn’t be more different
By Mungo MacCallum on the
Image from ‘Diane’
Films made by and focusing on women stand out in 2018
By Shane Danielsen on the
Image of Intan Paramaditha’s ‘Apple and Knife’
A collection of playful and provocative short stories by Intan Paramaditha
By Emily Bitto on the
Image from ‘Breath’
Simon Baker adapts Tim Winton’s coming-of-age novel for his directorial debut
By Rebecca Harkins-Cross on the
Image of Geoffrey Gurrumul Yunipingu
Gurrumul’s ‘Djarimirri’ makes history
By Anwen Crawford on the
Image of Malcolm Turnbull announcing banking royal commission
Highlighting Shorten’s union past has awkward implications for the PM
By Mungo MacCallum on the
By Nick Feik on the
Image from Sydney Theatre Company’s ‘The Resistible Rise of Arturo Ui’
Technology intensifies the Brechtian in a recent series of productions
By Miriam Cosic on the
Image from ‘Atlanta’
Donald Glover’s uncommon blend of the everyday and the absurd makes a masterful return
By Craig Mathieson on the
Image of Peter Dutton
Australia, refugees and the politics of fear
By Mungo MacCallum on the
Image from ‘The Americans’
Why sometimes it’s better to approach art on its own terms
By Matthew Clayfield on the
Image of Hugh Grant in ‘Maurice’
Restraint belies profundity in ‘Maurice’, ‘Howards End’ and more
By Joanna Di Mattia on the
Image of Emily Blunt in ‘A Quiet Place’
John Krasinski’s latest film summons terror from the everyday
By Harry Windsor on the
Image of Kurt Fearnley
The level of inclusion on the Gold Coast has been a breakthrough
By Mungo MacCallum on the
Image of ‘La bouée rouge’ by Paul Signac
Masterpieces from the Musée d’Orsay at the Art Gallery of South Australia
By Miriam Cosic on the
Image from ‘The Party’
Sally Potter’s dark comedy skewers British manners
By Doosie Morris on the
Image from ‘Ready Player One’
Spielberg has principles, and if you don’t like them, he has others
By Harry Windsor on the