David Robinson-Smith, director of Mud Crab (MIFF 2022), returns to MIFF 2023 with We Used To Own Houses, an explosive cine-poem about the housing crisis.

If this scene and the overall use of tension represent the start of a pattern for Jack Clark and Jim Weir, I look forward to catching their next film.

Australia has been aching for a story like this, and it feels so good to finally see it. If you’re one of the lucky ones who snagged a ticket to the sold out MIFF screenings, then enjoy!

With Love to the Person Next to Me is not a perfect film, but it does have something that many films with larger budgets lack- a soul.

Talk to Me is another solid addition in the outback horror canon - a beating heart, pumping with fresh blood.

Beaten to Death is an uncompromising and particularly nasty slice of Ozploitation that mostly delivers on the bluntness of its title, with a few neat cinematic tricks up its sleeve.

We Are Still Here is aptly described by the saying “the whole is greater than the sum of its parts,” as it doesn’t particularly stand out for its technical or creative proficiencies, but rather because the message it manages is profound.

The true purpose of this kind of movie is to shock, and shock it does.

Moja Vesna rewards those with the patience to dig into the details.

Everything in Between is a meditation on death and our lack of control over it.

Is Franklin a documentary for climate warriors? Nature enthusiasts? Lovers of Australian history? Soul searchers? Who can say for sure - but I’m sure viewers will each find their own most pressing meaning in it.

Three Thousand Years of Longing is gearing to be one of the best films of the year in a sensual, lovely, fantastical, and provocative story, with a cast and crew at the top of their game.

Dome House Six scared me for the first time in a long time, and I didn’t even realise I was terrified until I felt the sweat built across my forehead.

The Green Woman meanders through a story of relationship problems and addiction, asking its audience to put the visual and storytelling problems aside for a third-act reveal.

While there's a case to be made for its occasional pops of glitter and gore, Sissy ends up firmly in the realm of meh-core, a film that isn't offensively bad but is somewhat of a chore because of its close proximity to mediocrity - a horror movie that, like the title might suggest, is scared of its own identity.

Unique challenges face us all in trying to achieve self-discovery, but for Blaze it’s a little more tumultuous than what you’d expect. 

You’ll likely not want to eat sushi again (or at least not for a while) after watching this.

This film, whilst deeply devastating and distressing, needs to be watched and watched again.

Warning: you may or may not want to quit your office job after watching, I did within 5 minutes of the film’s end. Nothing is real.

Elvis isn’t a movie, it’s an event.