Film

Matthew Newton’s latest film is – appropriately – a story about facing up to the past
By Shane Danielsen
Australia’s first Muslim rom-com is a shimmering, engaging romp
By Steve Dow
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
Luc Besson discusses humanity, utopia and his latest film, ‘Valerian’
By Luke Goodsell
David Lowery’s ‘A Ghost Story’ successfully combines sorrow, absurdity and the supernatural
By Luke Davies
‘Lady Macbeth’ is a cold and confronting take on the period drama
By Harry Windsor
Laura Poitras’ ‘Risk’ sidesteps the biggest question about Julian Assange
By Robert Manne
Director Bong Joon-ho on ‘Okja’, Netflix and the new cinema model
By Luke Goodsell
The streaming giant is paying big money for big names as it expands into film, but will that be enough?
By Harry Windsor
Still from Hounds of Love
Ben Young’s ‘Hounds of Love’ presents horror in all-too-familiar surrounds
By Shane Danielsen
Kelly Reichardt’s latest film is another quiet triumph
By Anwen Crawford
Still from Get Out
‘Get Out’ is a sharp mix of horror, satire and racial commentary
By Shane Danielsen
‘Berlin Syndrome’ and the naivety of the tourist–artist
By Luke Goodsell
The documentary is a powerful examination of the OJ Simpson trial within the context of race relations in the US
By Anwen Crawford
Still from The Salesman
The domestic disquiet of Asghar Farhadi’s ‘The Salesman’ gives way to suspense
By Luke Davies
Still from Toni Erdmann
Maren Ade’s ‘Toni Erdmann’ is one of the most misread movies of the year
By Shane Danielsen
Still from American Honey
Andrea Arnold’s ‘American Honey’ is an exuberant, if meandering, trip
By Luke Davies
Still from Collisions
Lynette Wallworth’s ‘Collisions’ brings virtual reality to the Western Desert
By Quentin Sprague

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