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I. Where the Crocodiles Are: Mad Bastards I am really proud of this movie most of all because it does justice to the tough men of The Kimberley who have transformed their lives by tempering their wildness, and...

The Angels’ Share (2012) is a Cannes Jury Prize winning film. Given this accolade it seems a little surprising that the film’s central focus is whisky. Whisky and young Scots in kilts, to be precise. Yet more s...

By Danni Zuvela for OtherFilm Albie Thoms (1941-2012) led a remarkable life. Perhaps most well-known as a filmmaker and founder of the pioneering avant-garde film organisation Ubu Films (1965-1970), Thoms wa...

Way back in 1982, Vertigo debuted on the BFI’s Sight & Sound Poll of Best Films at number 7. Since then it has slowly ascended, finally summiting the list in 2012, displacing the oft-thought irreplaceable C...

It is always ‘before the Revolution’ for us, sons of the bourgeoisie. – Bernardo Bertolucci, Prima della rivoluzione (1964) Invited as Guest Artistic Director by the 2012 AFI FEST presented by Audi, Bernardo ...

Fruitvale We were lucky. The cold front that had swept through most of the US in January receded on time, so we could enjoy the relatively mild weather, and even sunshine glittering on the snow, while waiti...

Peter Nagels Brad Nguyen Andy Norton Darragh O’Donohue Michael Pattison David Pearson Antoni Peris David Phelps Jit Phokaew Matías Piñeiro Phoebe Pua Bérénice Reynaud Marcos Ribas de Faria Pe...

Introduction Photo: from the National Film and Sound Archive of Australia “Why shouldn’t we have the moving-picture industry in Tasmania?” asked Tasmanian author Marie Bjelke Petersen at the Hobart premi...

… Tasmanian Gothic cinema… tends to be a response to its dark and wet landscapes, which register a paradoxical sense of beauty and menace. The dramatic inclines of Tasmania’s topography, its volatile climate, t...

I first heard the story of escaped convict Alexander Pearce when I was a teenager on the tour boat to Sarah Island in Macquarie Harbour. I’d been working with a theatre company in Strahan as an actor and it was...

“I want to talk about epic poetry.” I still remember the shock when Scott Millwood opened a documentary masterclass in the bowels of the Bondi Pavilion with these words back in 2004. I was covering the class fo...

A dialogue between Daniel Fairfax and Joshua Sperling I. NYFF & Richard Peña JS: A film festival is always more fun with a friend. So for this report of the 50th annual New York Film Festival we thoug...

Monster From the Deep Off the coast of Bangladesh, the tiny island of Banishanta (about 100 by 10 metres) is flat, exposed to the vagaries of the Bay of Bengal, with its treacherous monsoons and cyclones tha...

In her powerful story of early cinema, the scholar Jaine Gaines suggested that informal and pirate duplication was essential to the film form even as it arrived mythically in the early years. Once copied, pirat...

Looking back from Election (1999) to his first feature film, Payne saw Citizen Ruth (1996) as “something of a dry run for” the later one. (1) Indeed, although Election is arguably a richer, more subtle work tha...

If Inland Empire, released in 2006, has proved one of the strangest films of the last decade, David Lynch’s activities since then have only increased the mystery surrounding its director. In recent years, Lynch...

The Revelation Perth International Film Festival, in its fifteenth year, sixth at the Astor Theatre, and fifth with a program selected by Jack Sargeant, returned to Perth with the familiarity of an old friend. ...

It’s a difficult enough task to film New York.  I do not mean by this, of course, to set all or part of a film in New York, as so many have done who neither deeply know nor particularly love the place (The Adju...

Commemorating Nicholas Ray in his centenary year, in 2011 his last feature-length motion picture, We Can’t Go Home Again (1973-), started doing laps around the festival circuit, sometimes accompanied by Don’t E...

I just want to say this: you have to love it and hate it at the same time – and love it as much as you hate it. This fact alone proves that the cinema is an art with a very well-defined personality of its own. ...

Garin Nugroho’s Rindu kami padamu (Of Love and Eggs, 2004) is a warmly utopian picture of Indonesian village life that stresses a supportive community with the mosque – literally and figuratively – at its centr...

In 2012, the 61st Melbourne International Film Festival (MIFF) will feature “Street Level Visions: Indie Docs from China”, a retrospective of seven digital documentaries produced over the past eight years by in...

About halfway between Japan and the East Coast of North America lies the Great Pacific Garbage Patch, an immense swirl of plastic fragments estimated to be at least twice the size of France. A morning’s researc...

The Far East Film Festival has ever-increasing audience numbers and takes place at the more prosperous end of the Italian peninsula, in the charming Friuli town of Udine. Nevertheless, it is not immune from the...

The Hong Kong International Film Festival keeps on changing pretty radically every year because… well, Hong Kong changes pretty radically as it is buffeted by the advantages and disadvantages of proximity to th...

“For me, the idea for the film lies in its attitude to human beings. In my case, this attitude is one of obsession…. In my work, people take centre stage. I am much more interested in mankind than I am in other...

Could all of this year’s major Oscar nominated films be read as allegories of the end of the “celluloid” era? Andrew Gilbert argues that, collectively, their narratives reflect certain anxieties about the post-celluloid age of filmmaking.

The biennial Bangkok Experimental Film Festival had its sixth incarnation from 24 January to 5 February 2012 with a focus on the archive as inspiration for new critical artist films and as invocation to locate ...

Ugly city, beautiful cinema. It strikes me that the world’s major film festivals are opposed in nature to the cities that host them. Take Berlin. The city is an epicentre of alternative subcultures, artistic...

Your fearless film critic, Alice, was getting ready to cover the new edition of the AFI Fest which, this year again, was Presented by Audi and offering free tickets to the audiences – the former explaining the ...

By the time this report is out, many changes have occurred within Italian and international festival politics. What is left to say now is only this much: it is indeed hard to think of a festival director with m...

The director of Look Both Ways and My Year Without Sex passed away earlier this year. Jonathan Dawson pays homage to a distinctive talent.

The Dragons and Tigers Award for Young Cinema went to the first digital film of a young Tibetan director, Sonthar Gyal’s Dbus Lam Gyi Nyi Ma (The Sun-Beaten Path), that had already received a Special Mention in...

If this were the 50th edition of the New York Film Festival – and the year in which programming director Richard Peña hands over the reins of the Film Society of Lincoln Center after 25 years in command – then ...

A supposed nostalgia for the old West Germany before the fall of the Berlin Wall has made its appearance in a number of films. Dorothea Otto discusses Herr Lehmann and other titles pertinent to the theme.

Abigail Loxham discusses the documentary work of José Luis Guerín, Albert Solé and Carla Subirana in the light of Catalan history.