Seeking Representation is Natali Caro’s first show at the Melbourne International Comedy Festival - their first show of this length - and Natali is undoubtedly one to watch for in future years. An incisive comedian with an unusual genre-hopping style: this was a solo show like no other. 

While Metal Skin may be uncomfortable or even unenjoyable viewing, it is a compelling, edge of your seat story of Australia’s male-dominated, rev-head culture, where burnt rubber and women who love fast cars are drivers of the male fantasy.

The Fall Guy is the rare blockbuster studio film that feels simultaneously old school and fresh in execution. It is incredibly funny, fast-paced and deeply romantic. At its core, however, the film is a love letter to the stunt community and the incredible work they do to entertain audiences.

Making sure to cater to both returning fans and new fans alike Code: White is by no means a perfect movie, but for what it is, it remains exemplary of good old fashion family fun.

Fremont isn’t a thrilling film, and perhaps one that requires an eager mood, but you could scarcely imagine leaving the cinema without a sense of distinct peace. 

In Divinity, writer-director Eddie Alcazar seems to have crafted a readymade cult object. A film completely furnished with textual references, grotesque violence, hyper-stylised visuals, and mixed media experimentation, seemingly destined to attract a small coterie of like-minded fans and repeat viewers. The only issue is that I can’t imagine anyone sitting through this twice.

Mami Wata truly has the ability to spellbind, yet keeps its feet rooted in a deeply nuanced point of interest: an ever-changing reckoning with modernity.

Guadagnino has served up a smash hit, and it’s up to audiences to decide what to do now that the ball is in their court.

It’s a light summer breeze of a film clearly aimed to bring joy to both parents and kids whilst still telling a compelling story, so some kind of deep underlying metaphor is unnecessary. Just go have fun watching a cartoon dog and a robot roller-skate to Earth, Wind & Fire! Your brain deserves a break.

Monkey Man tells the story of a nameless young man, referred to in the credits as “Kid” and using the self-applied alias “Bobby”, a fighter at an underground boxing ring in Yatana, as he attempts to infiltrate the ranks of the powerful upper class to enact violent revenge for the massacre of his village - a story that mirrors the Hindu epic of Hanuman, the white monkey. 

If you’re looking for something out of the ordinary to shake up your 2024 Comedy Festival experience, Sh!t-faced Shakespeare is what you’re looking for. Whether you’re a fan of the bard or not, there is a universal appeal to watching an actor attempt to improve upon a four hundred year old play with the confidence that only alcohol can provide.

If you’re into sketch comedy, very light political commentary, Chekhov’s coin, and cancelled simulated sex scenes then Pass the Parcel is the show to see.

if you’re a lover of sharply written humour, sacrificing meat to cancel out the environmental damage of procreating, and learning the truth behind how Taylor arrived in Sydney for that special then I can guarantee that Big Time is the show for you. 

The First Omen is a quiet triumph for modern horror, understanding the delicate balance between terror and beauty, and between homage and innovation.

Galluppi’s mindfulness in crafting The Last Stop in Yuma County truly shows what outstanding stories can come from taking a leap in the dark.

Behind the flashing neon lights, Mars Express’ messy and complicated core is a delight to unpack and crucially, is without the comfort of easy answers. While it’s not exactly reinventing the wheel, its entangled approach to familiar concepts positions it uniquely, and is well worth the price of admission.

Hood Witch is redolent of self-importance, so deeply invested in its own world that it barely pauses to consider the viewer’s ability not to care about its mediocre characters and plot delivery.

A patchwork quilt of genres, Alice Rohrwacher’s La Chimera is a grimy and charismatic fairytale, and Josh O’Connor is its beating heart. 

Lyd, which recently played at Melbourne's Palestinian Film Festival, is a cinematic exploration of the city formerly known as Lyd, a place with a rich and tumultuous history that has been shaped by its many inhabitants and the broader geopolitical forces at play.

While The New Empire may not be exactly treading new ground, it does succeed at something that few modern blockbusters do - being fun. GxK delivers on a monster mashup of epic proportions, with a few little surprises up its sleeve and just enough creativity to inspire hope for the franchise ahead.