From rats in Baltimore to competitive falconry in Qatar, two documentaries at the Melbourne International Film Festival explored the idea of animal as status symbol
By Keva York on the
A fuller story of relations between the Russian government and the Trump campaign is only now coming to light
By Robert Manne on the
Australia’s first Muslim rom-com is a shimmering, engaging romp
By Steve Dow on the
Marvel’s ‘The Defenders’ are here to save a medium that seems to be doing fine on its own
By Craig Mathieson on the
The government is becoming increasingly desperate to paint Labor as a poor economic manager
By Mungo MacCallum on the
By Nick Feik on the
‘American Made’ provides more subversive smarts than you’d expect from a Tom Cruise vehicle
By Harry Windsor on the
How can Turnbull overcome the Coalition’s ongoing poll woes?
By Mungo MacCallum on the
‘Mischka’s War’ is a historian’s honest attempt at preserving both love and objectivity
By Emily Gallagher on the
Image of Acid Mothers Temple & the Melting Paraiso U.F.O
Sophia Brous assembled another magnificently eclectic program for her festival’s second outing
By Jenny Valentish on the
Cover of Taboo
With ‘Taboo’, Kim Scott sketches out a new way of accepting our histories, and imagining our future.
By Shannon Burns on the
Cover of Devil’s Bargain
Joshua Green chronicles Steve Bannon’s rise to prominence – and offers an insight into what he might be capable of now
By Elle Hardy on the
Still from The Silent Eye
‘The Silent Eye’ is the latest of Amiel Courtin-Wilson’s films to resist easy categorisation
By Lauren Carroll Harris on the
Taylor Mac’s ‘HIR’ at Belvoir is not your average kitchen-sink drama
By Fiona McGregor on the
Won’t somebody think of the Roman Catholics?
By Mungo MacCallum on the
Cover of Goodbye, Vitamin
Alzheimer’s drives the narrative of Rachel Khong’s ‘Goodbye, Vitamin’ but it isn’t the novel’s focus
By Jessica Au on the
Image of Daniel Monks as Joseph Merrick
Malthouse Theatre’s ‘The Real and Imagined History of the Elephant Man’ runs the risk of erasing its protagonist
By Alison Croggon on the
Luc Besson discusses humanity, utopia and his latest film, ‘Valerian’
By Luke Goodsell on the