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.

“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.”

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

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

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

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

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.

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.

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

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.

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

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.

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.

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.

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

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

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.

A symbol of undying beauty, the sari is not a temporal phenomenon.

Camcorders are in a renaissance.

After all, if there’s one thing that the left loves to do, it’s making sure that no one is allowed to enjoy a film from 15 years ago.

51 years after its release, The Devils remains Warner Bros.’ dirty little secret, so how did one of its characters end up in a Looney Toons movie?

The Italian Film Festival returned this year with a bang!

These more theatrical elements bridged old and new storytelling techniques, and also provided a reason for people to go to the cinema.

They wade through flooded towns in gas masks and hazmat suits, unable to breath in the toxic miasma of a sepia-toned world.

Carrie’s inner-city brownstone becomes a two-room inner west studio, and her rent increases so rapidly she must sell out to Newscorp to keep up

Eye contact, physical affection and double entendre have collectively formed a shared culture of ‘reading the room’.

I never wanted those dim lights to rise.

Phyllia Lloyd’s Mamma Mia (2008) is a 108 minute slice of feminist paradise.