Film

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Should the offset for screen producers apply to all films made in Australia? Yes, even the ones that ruffle a few feathers. mark sebastian/Flickr

Australian film funding shouldn’t be a beauty contest – here’s why

The producers of a creationist doc took advantage of Screen Australia's tax offsets. Were they exploiting a loophole? Hardly – and there's good reason why producers of all films should enjoy such benefits.
How does Fury Road fit into the continuum of George Miller’s earlier films? © Warner Bros. Pictures and © Roadshow Films

Frenzy on Fury Road: Mad Max faces a post-digital apocalypse

There are metal spikes, sadistic implements of torture galore, massive machine guns mounted on the top of buggies, jeeps, motorcycles, and more leather than a Judas Priest concert. But does it work?
The Mad Max trilogy has had a tremendous influence on action cinema – and next week, the series resumes. © Warner Bros.

How Mad Max wrote the script for the action blockbuster

George Miller's Mad Max films have aged remarkably well – perhaps because they have had such a profound influence on the films that followed them.
Juliette Binoche and Kristen Stewart star in Olivier Assayas' latest film, The Clouds at Sils Maria. © Carole Bethuel. Pinnacle Films

The Clouds of Sils Maria: a star-studded film about stardom

Juliette Binoche and Kristen Stewart star in French director Olivier Assayas' latest film, an elliptical address to the cruelties of the star system.
Black Widow, in Marvel’s Avengers: Age of Ultron, released this week. Jay Maidment ©Marvel 2015

Up, up and away? The future of the comic book movie

Avengers: Age of Ultron, released this week, is one of many superhero films destined for the multiplex in the coming months and years. What's behind this trend? And what kind of villain would be powerful enough to stop it in its tracks?
Director Greg McLean and John Jarratt on-set shooting Wolf Creek 2. AAP Image/Cameron Oliver

Making films is never easy but we can fix the local industry

We know the transformation of global media technologies pose particular challenges to local filmmakers – and that the rewards are still slim. But there are good reasons to be optimistic about the future of the industry.
Guenevere in May, Malory’s Le Morte D'Arthur, abridged ed. Alfred W. Pollard, illustrations by Arthur Rackham, 1917. Bangor University Library Rare Book Collection

King Arthur back home in Wales – thanks to Guy Ritchie

We just can't have enough of all things Arthurian – the legend and its many possible permutations never cease to fascinate.
‘A dramatised event is no replacement for the horrors of what is really going on.’ AAP Image/NewZulu/Nicolas Koutsokostas

The ‘refugee telemovie’ shows our government is lost at sea

The government has announced its latest method to stop the boats: a telemovie with storylines about asylum seekers dying at sea. Is it really the role of government to fund propaganda pieces like this?
An emphasis on the ruins of the recent past places Zvyagintsev’s film within a very interesting genre of post-Soviet films. Palace Films

Leviathan: political thriller meets melodrama in Putin’s Russia

Andrey Zvyagintsev’s film Leviathan explores the 'symphonia' of church and state in Vladimir Putin's Russia. In doing so it taps into a tradition in Soviet and post-Soviet cinema.
‘It is difficult to convey the exhilaration that can be received from recognising elements of your own intimate life magnified on a cinema screen.’ Anatomy of a Love Seen screens at the Melbourne Queer Film Festival. MQFF

Give us better lesbians, please, and screens to watch them on

The curators of queer film festivals undertake a challenging task, assembling as best as possible a cinematic selection that reflects what is a very diverse community. Too often, lesbians are left out.

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