The story depicts a young Wallisian man trying to make it in the world of rugby in France.
3 B Productions
Sport migrations emerge within a general migratory context. In some societies, like the Pacific Islands, adulthood, particularly for men, cannot be completed unless one migrates.
The poster for ‘Do The Right Thing’
With #BlackLivesMatter and a never-ending list of African Americans being killed by police, the film ‘Do The Right Thing’ is even more relevant now than when it was released 27 years ago.
Countering the Republican nominee's favourite movies, here are five that he might learn something from.
Abbas Kiarostami, speaking at the 65th Cannes Film Festival, in May 2012.
The director who put Iranian cinema on the map, but whose work spoke beyond nationalities and borders.
David Gulpilil as Jagamarra Jurunba, Mark Weaver as Bellyup, Dougie McCale as George and Cameron Wallaby as Pete in Satellite Boy.
A Satellite Films production Photo by Matt Nettheim SAB
The French capital will light up to the sights and sounds of Cleverman, Samson and Delilah, and The Sapphires.
Still from Goodfellas, 1990
Bruce Isaacs analyses two related but very different scenes: the famous Copacabana tracking shot from Goodfellas (1990) and the opening scene in Hugo (2011).
Still from Raging Bull, 1980
Bruce Isaacs looks at an intense and emotionally charged scene from the 1980 classic, Raging Bull.
Robert De Niro as Travis Bickle in Martin Scorsese’s 1976 film, Taxi Driver.
Still from Taxi Driver, 1976
Bruce Isaacs analyses the iconic 'You talkin' to me' scene from Martin Scorsese's Taxi Driver.
Mean Streets, released in 1973, is considered Martin Scorsese’s early masterpiece.
Still from Mean Streets, 1973
Film scholar Bruce Isaacs dissects five classic Martin Scorsese scenes. In episode two, Isaacs looks at the opening credit sequence from the iconic 1973 film Mean Streets.
Harvey Keitel as J.R. in Martin Scorsese’s first film Who’s That Knocking at My Door?
Still from Who's That Knocking at My Door (1967)
Film scholar Bruce Isaacs dissects five classic Scorsese scenes, beginning with the celebrated director's first film, Who's That Knocking At My Door?
Can mobile phones improve the movie experience?
In China and Japan, moviegoers can visit a cinema where their text messages appear on screen as the film plays. While this might sound like a nightmare to some, the cinema has always been a hub of social activity.
Jodie Foster, Robert De Niro and Martin Scorsese on the set of Taxi Driver in 1976.
Sikelia Productions, New York
From 'Mean Streets' to 'Vinyl', from The Ronettes to The Clash, music has long been a muse to film director Martin Scorsese. He plays it on set, conceives sequences with certain songs in mind and uses it to chart his characters' changing fortunes.
On April 28 1996, 28-year-old Martin Bryant murdered 35 people and injured 23 others at, and in the vicinity of, Port Arthur.
How Bryant and, more importantly, the dead and survivors of the massacre are remembered is vital if we're to appreciate the impact of it.
A still from Mirrors of Bergman, a profoundly moving audio-visual essay.
Digital technology has transformed the work of cinema scholars, spawning a rich and poetic critical form.
Nate Parker, director of the recent revolutionary US film “Birth of a Nation”.
Racism is a charge that could be leveled at cinema from its very inception. There are some positive signs of change, but audiences have a role to play in making sure African films flourish.
Jane Austen horror has burgeoned into a distinctive subgenre of adaptations.
England’s green and pleasant land will be beset by a plague of the living dead, corpses will dig their way out of graves ... Jane Austen horror is now a distinctive subgenre of Austen adaptations.
Memory has become prosthetic – outsourced to the internet. But remembering, not forgetting, is the enemy of creative reinvention.
This year has already seen the first selfie movie, the first series to air on Instagram – mobile phones are increasingly playing a major role in the film world.
Many films exist on a knife-edge ... failure is only a screening away.
Australia’s defining narratives are apparently stories by, for and about white cis men.
George A. Spiva Center for the Arts
Australia’s defining narratives are apparently, with rare exception, stories by, for and about white cis men. We need more than Screen Australia’s new measures to address gender equity in the film industry.