Huw Bradshaw 8/7/23 Huw Bradshaw 8/7/23

Artificial stupidity

Humans are smart. Unfortunately, humans are also annoying, trite, boring, unimaginative, clichéd, derivative, etc, etc, etc. AI seemingly thrives off all of these worst aspects.

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.

Zara Upfold 6/28/23 Zara Upfold 6/28/23

BroadSlay: sashay away

In investigating BroadSlay’s tragic death, I discovered the event’s spirit.

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.

Joseph Arabit, Aki Green and Sophia Ying 6/27/23 Joseph Arabit, Aki Green and Sophia Ying 6/27/23

Coffee to cure your architectural in(digest)ion

Coffee to the architect is what sexual frustration is to the engineer. A point of conversation, a particular quirk, one’s whole personality.

Juliette Jarrett 6/26/23 Juliette Jarrett 6/26/23

About a basin

As hard as I try to remember, from no part of my being can I summon a reason for me being here.

Maeve Hopper 6/23/23 Maeve Hopper 6/23/23

When asked, I describe my hobby as ‘Google Maps user’

It’s more than just directions.

Ariana Haghighi 6/23/23 Ariana Haghighi 6/23/23

I played Papa’s Freezeria and all I got was exploited

There’s nothing cool about violating labour law.

Luca Ittimani 6/23/23 Luca Ittimani 6/23/23

Albos old and new

With his knack of changing character to fit the times, I’m confident it will be a while before we see his last.

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.

Imogen Sabey 6/21/23 Imogen Sabey 6/21/23

SFF 2023 REVIEW: Blue Jean

Oakley’s directing is subtle and effective, with clever use of sound and lighting to contrast the two major settings at Jean’s school and the nightclub, which are the symbolic fronts of the heteronormative and queer environments that she arbitrates between.

Kate Saap 6/21/23 Kate Saap 6/21/23

SFF 2023 REVIEW: Scrapper

I knew two things about the film going in: a) Harris Dickinson was in it and b) it was going to make me cry. Those two things turned out to be true.

Brodie Ford 6/21/23 Brodie Ford 6/21/23

PALACE, MIRE, FORM

Made in a lab for your viewing pleasure.

Alexandra Dent 6/18/23 Alexandra Dent 6/18/23

SFF 2023 REVIEW: Kim's Video — “A lot of things used to be here, and now they are not”

Redmon and Sabin masterfully balance gravity and levity in what might be the funniest documentary I have ever seen.

Mae Milne 6/18/23 Mae Milne 6/18/23

SFF 2023 REVIEW: L’immensità

Set in circumstances of perpetual domestic conflict: Rape, betrayal, and family violence continually oscillate between each other, creating a profound sense of unease.

Harry Gay 6/12/23 Harry Gay 6/12/23

SFF 2023 REVIEW: No Bears – the camera as truth-teller

In No Bears, we are just as much aware that we are watching a film as we are of the action taking place. With knowledge of Panahi’s context, every shot feels dangerous, and you're constantly left wondering how he made it.