Much like the life of its muse, Benediction tosses between the translucent and opaque, the subtle and overt.
A film that is experienced more than viewed, Memoria brings slow cinema to the forefront of arthouse films.
Like an adult film, no one is watching a slasher for its plot. X is an erotic slasher with all the glory and sadly not enough of the gore.
As ever-changing Australian Iconography is scattered across every wall, Friends and Strangers poses the question, what if it begins to stare back?
“Thousands have lived without love, not one without water” is the thread that ties River together.
In a film where right and wrong are so carefully defined, Fresh finds itself torn between genres.
More a symbolic than a literal figure, The Greenhouse is a head-trip where grief flourishes as vividly as ever.
“Keep noise to a minimum, they can hear you” is the overarching phrase that haunts the retelling of the tragedy in Spencer.
It’s interesting to see that after a questionable sequel, the Kingsman movie creators believed the natural solution to be an even more questionable prequel with The King’s Man.
Licorice Pizza is a charming yet unforgivingly problematic addition to director Paul Thomas Anderson’s directorial lineup in what can only be described as a teenage boy’s wet dream.
Bergman Island is a compelling indie tale with a meta twist.
In what can only be described as a love letter to literary magazines, Wes Anderson runs hot off the press with his newest instalment, The French Dispatch.
In the fever dream in which ‘bitch’ is a term of endearment, Zola encapsulates the world’s greatest twitter thread as a riveting and catastrophic force.
Depicting the vivid and colourful life of explorer Jacques Cousteau, Becoming Cousteau dives headfirst into the deep, presenting the harsh effects of climate change across his 70-year career.
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