Author Louise Sheedy

Early shots of Allison Chhorn’s The Plastic House (2019) tell a grim story. It’s dark. Headlights make a cemetery almost visible through a rained-on windshield. We (she) are definitely in this car alone. Windsc...

“Memory is crucial to the understanding of a culture precisely because it indicates collective desires, needs and self-definitions. We need not to ask whether a memory is true but rather what its telling reveal...

The film is as much about ourselves as it is about orang-utans . Nénette is a mystery. We don't know what she thinks or if she thinks at all… She is a receptacle for our fantasies. She is a projection screen… T...

Xin shu shan jian ke (Zu: Warriors from the Magic Mountain), Tsui Hark’s explosive fantasy epic, was made and released during an equally dynamic period of Hong Kong history. This dynamism also defines its compl...

Upon its release, Beginnings screened to “full houses over a week at Glenn College Lecture Hall, subsequently the Carlton Theatre and to various trade unions and peace groups” (1). This documentary initially p...

The anxious, discordant strings that accompany the blackness that opens Arts Vietnam: A Protest to Stop the War set up an uneasy relationship between the film and the audience, a tension that remains throughout...

If one of the benchmarks for the success of a historical analysis is its conceptual transferability onto contemporary situations, then Kevin Heffernan’s Ghouls, Gimmicks and Gold is very successful indeed. In a...

Short films roam the Australian landscape in packs. While largely a nomadic species, their chosen habitats consist of festivals and specialist screenings in galleries or dimly lit bars, their numbers provid...