Fanny Lye Deliver’d is a quasi-Western set just after the English Civil War, circa 1657, in period of moral and sexual liberation, as well as barbaric violence.

The Orchard Murders does well as a standalone crime read, although I imagine loyal readers of Gott’s series would better appreciate the character development across novels.

Dating Amber centres on Eddie and Amber, both teenage homosexuals who fake a romantic relationship together at school to convince their tormenting classmates they are straight and otherwise ‘normal’.

No film in recent memory has made the experience of sitting with a knot in your stomach so enthralling and intriguing.

With this new release, Australian readers especially would do well to take a look at Seven Fallen Feathers and consider the similar atrocities perpetuated against Indigenous people in our own backyard.

A wonderfully enthusiastic and enjoyable tribute to the esoteric stylings, and wide-ranging influence, of the band Sparks.

Minamata’s painterly composition paired with its desperate, clawing story of inequality and the exposing of truths creates a multilayered masterpiece that is equal in its depiction of beauty and pain.

Black and white has never looked so vibrant.

Amidst the turbulence and wildness, First Love is fundamentally a story of the quiet good and maniacal evil that inheres in the world.

Ema unveils itself as a political statement through the microcosm of its titular character. However, it’s crowning achievement is the immersive kinetic energy created from the phenomenal dance choreography, pumping soundtrack and beautiful cinematography.

If you want a film that takes an honest look at familial relationships, which breaks your heart and proceeds to mend it in 100 minutes, then June Again is your best bet.

JESUS lived, Jesus Died, and Jesus has been resurrected again at Theatreworks. Not in a typical patriarchal way but a completely reimagined production with Jesus represented and played by a transgender woman.

Don’t immediately write Twist off as just another modern re-telling of a classic, only further proof that the film industry is well and truly out of new and fresh ideas. New and fresh is exactly what director Martin Owen achieves with this re-vamped return to everyone’s favourite orphan (sorry Annie).

Reichardt’s concern throughout First Cow, it seems, is with people, and the consequences of the structures to which they are subject. That much is clear from the film’s framing device, which I won’t ruin here – this story, astonishingly tender and beautiful as it is, isn’t content to just give the audience likable characters developing an endearing friendship that you like to watch.

Rest assured, the hour-long run-time of ‘Domestic’ flies by, with impeccable timing and jokes infused with personal anecdotes, Cameron creates genuine warmth and engagement with the audience that few others are capable of.

Every so often, you get to watch a film that chills you to your core, and properly challenges your belief in the good of people and faith in human nature to care for one other. Even more unsettling so, sometimes that film can be a documentary. This is one of those films.

The title itself alludes to the film’s central premise: ‘Supernova’ is about a couple deeply in love, and when an endpoint to their relationship is revealed, their emotions and sadness burst in all directions.

The Father showcases the horrors of dementia with standout performances by its lead actors. First-time director Florian Zeller adapts his own stage play with limited settings and cast, but powerfully wrenches at the heart with the psychological turmoil of its few characters.

Many of the horror genre’s all-time classics, such as Rosemary’s Baby (1969), The Exorcist (1973), and The Omen (1976), are based firmly in Christian beliefs, in an association that continues through to modern-day favourites like The Conjuring (2013). While Saint Maud, the debut film by British writer-director Rose Glass, is also a horror film with religion as its central theme, its unique approach offers a refreshing change of pace from this long-standing stereotype.

This new work by writer/performer Ellen Grimshaw, We’re Probably Really Really Happy Right Now is a raucous, delightfully heightened piece of theatre that tears open the facades and toxicities we’ve all come to accept in our daily life.