Author Duncan Caillard

In a lecture at the University of Auckland Film and Media Studies Department on 17 September 2002, Ngāti Apa filmmaker Barry Barclay proposed Indigenous Fourth Cinema as “a late addition to the First-Second-Thi...

On the back wall of the Māoriland Hub, in the Toi Matarau Gallery on the main street of Ōtaki on the Kāpiti Coast of Te Ika-a-Māui (the North Island of New Zealand), hangs a map of the world. Hand painted on a ...

It is rarely a compliment to be described as “exotic.” Exoticism is rarely a question of self-identification. To be exotic implies isolation from the majority, a remarkable or spectacular difference from the no...

Southeast Asian cinemas have been historically marginalised within global screen culture. Wedged between dominant cinemas from the United States, India, Japan and China and industrially dependent upon these lar...

Apichatpong’s father died in 2003, and his ashes were spread in the Mekong. During an interview for this year’s Berlinale, for which the director called-in from a hotel in Nakhon Panom, a small town on the Meko...