Charlie Bate-Sproston 6/12/26 Charlie Bate-Sproston 6/12/26

Lighting up the Playhouse Theatre: PULP Reviews Paris is Burning

Charlie Bate-Sproston 6/12/26 Charlie Bate-Sproston 6/12/26

PULP Reviews: Short Wave x Soft Centre Film Screening at the Sydney Opera House

Samadhi Kumarage 6/12/26 Samadhi Kumarage 6/12/26

Everything or Nothing?: PULP Reviews Millennium Mambo

Ananya Thirumalai 5/21/26 Ananya Thirumalai 5/21/26

Kantara

It is this closeness that makes Kantara so difficult to situate within the familiar stories of Indian cinema, where religion is often rendered as something aestheticised and made legible for a broad audience.

Nathan Phillis 10/31/25 Nathan Phillis 10/31/25

Scooby Doo (2002) & Daphne’s Red Ascot

My first memory of ‘body swapping’ media was in 2009, sitting across from my pink PlayStation 2, gleefully watching the first live-action Scooby Doo (2002) movie on an archaic Panasonic TV.

Amelia Elliott 10/31/25 Amelia Elliott 10/31/25

Memory: A Practical Guide

Find a stimulus, or rather let it find you.
Be transported through space and time, find yourself in that moment again.
Linger in it for a minute more.

Sage Belgum 9/16/25 Sage Belgum 9/16/25

In Defence of RomComs

Its pessimistic parable, that modern dating is superficial (duh!), defies characterisation. Let me explain.

Grace Lasschuit 9/16/25 Grace Lasschuit 9/16/25

The Allure of Ultraviolence

These works prompt a deeper question of whether our artistic fascination with violence is a glamorisation, a critique, or a coping mechanism in an ultraviolent world.

Emma Lee 7/16/25 Emma Lee 7/16/25

Curtains

“There, staring out at me, was Magritte’s Les Mémoires d’un Saint (1960). In the centre of an intangible space, a ring of rich red curtains stood upright, drawn at the middle to reveal the sky.”

George McMillan 7/11/24 George McMillan 7/11/24

Being Killed To The Limits of Eternity: Salo, or the 120 Days of Sodom

Pasolini cleverly subverts the cinematic techniques of excitement to be in service of pure horror.

Will Naufahu 5/24/24 Will Naufahu 5/24/24

Velocity

“Did you know that this theatre is haunted?”

Harry Gay 11/10/23 Harry Gay 11/10/23

Scene of the crime

Art, in its purest sense, is to create, while policing, is to destroy.

Chloe Atkinson 9/27/23 Chloe Atkinson 9/27/23

With teeth: Why girls love vampires

Suspended between death and life, the vampire occupies a liminal space wherein typical boundaries can be blurred.

Mia Retallack 9/25/23 Mia Retallack 9/25/23

Love unscripted: The culture industry’s romantic reel dance

Business is business, what else are you supposed to do?

Chloe Atkinson 9/13/23 Chloe Atkinson 9/13/23

Building Morticia

Unlike Vampira and Elvira, Morticia is a wife and mother, but it goes without saying that she represents much more than that. She wants it all, and refreshingly, she never asks why she shouldn’t have it.

Harry Gay 9/11/23 Harry Gay 9/11/23

Twinning

Talk to any twin long enough and you find shared experiences emerge — the same plot points and canon events that carry across people and shape who they are.

Danny Yazdani 8/7/23 Danny Yazdani 8/7/23

SFF 2023 REVIEW: Joonam (جونم)

Urich’s soulful connection with the documentary as well as the subject matter is one that is felt palpably.

Danny Yazdani 6/27/23 Danny Yazdani 6/27/23

SFF 2023 REVIEW: Blind Willow, Sleeping Woman

I felt cheated by an experience that capitalised on Murakami’s name and a trailer that hinted at his many stories, but had very little to do with the collection itself.

Danny Yazdani 6/21/23 Danny Yazdani 6/21/23

SFF 2023 REVIEW: Subtraction (تفریق)

Haghighi, all-round artist of acting, writing, and directing origins, leads Subtraction with direction reminiscent of Iranian greats.

Nathan Phillis 6/21/23 Nathan Phillis 6/21/23

SFF 2023 REVIEW: Sunflower

Set in the outer suburbs of Melbourne, this film acts as an enticing representation and characterisation of coming out in a society where homophobia has become socialised.