Despite its pitfalls, Dangerous Animals still manages to thoroughly entertain for its full duration […]

The restoration of Charis and George Schwarz’s work is a wonderful reclamation of a peculiar piece of Australian cinematic history.

It's clear the Philippou brothers have crafted a horror experience that doesn’t just scare - it leaves wounds. If Talk to Me was a party, Bring Her Back is a funeral. Leave the flowers at home.

The Surfer’s dysphoric madness is purposeful, its structure disorienting, and its central performance unapologetically feral. But for those willing to paddle out into deeper, more turbulent waters, it truly stands as a mesmerising devolution into psychedelic bedlam.

Tall Tales might not be as grandiose as its title would suggest, but the real scale lies in its ambition.

Sword of Silence believes in the strength of [its] ‘unique’ visual style to carry the film’s shortcomings, which unfortunately still manage to detract from the feature’s overall potential.

Aside from the fact that you may struggle to eat tomatoes for a short period of time, Parish Malfitano’s sophomore film is nothing short of spectacular. 

My Melbourne is the people we all know: our friends, our family, our neighbours, our coworkers, our bosses, our classmates, the people on our tram rides in the morning, and the people we talk to on a night out.

Inside is a well-directed debut feature that is unforgiving, and filled with stand out moments from the whole cast.

Under Streetlights is an appealing feel-good film from Australia’s outback core, and a triumph of independent Aussie filmmaking.

Unbreakable is a celebration of Dokic as both a player and a person, cementing herself as one of the greatest names in tennis and a true role model.

If you’re into Aussie battlers, beautiful Australian scenery, cute speedy dogs, and blatantly crying your heart out in public then Runt is the film for you. 

 I don’t know if I will ever get to watch Us and the Night again given its unique formatting and distribution, but it’s quite radically put my love of film into perspective.

I’m tempted to call this a modern Macbeth.

Peter Weir’s second feature The Cars That Ate Paris (1974) has an underlying power, and it’s both due to how raw it is as a cultural and industrial satire, and how much Peter Weir’s delicate emotional trademarks manage to bleed themselves into the expression of this bizarre premise.

Memoir of a Snail is an absolute triumph, cementing Elliot as a visionary and one of the best in his field.

The Convert wasn’t perfect but its visuals and depiction of the way of life for people in Aotearoa at the time will continue to leave its mark on me.

Not so much applying brakes to the franchise as it is shifting gears, Furiosa is a triumphantly Aussie blockbuster.

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.

Just two bros sitting around a campfire. Five feet apart. Because they can’t face reality.