Offbeat, endearing, and at times, soul-crushing, Charlotte Regan’s feature debut Scrapper poignantly weaves tangerine-tinged whimsy into a tale of reconciliation, effortlessly bearing the weight of immeasurable loss with a touching irreverence.

Can truth reveal itself in Perfect Days? Or is it a beautiful simulacrum, contemporary Japan through the gaze of the international film market?

While The Nun II isn't exactly breathing new life into the genre, horror fans should find themselves satisfied, offering a course correction after the first entry underwhelmed.

Insightful, hilarious yet emotional, director Ili Baré leads the audience through a surprising journey behind one of the world’s most viewed sports competitions, The Australian Open. 

Teenage Mutant Ninja Turtles: Mutant Mayhem is made with passion and love for the franchise, offering a familiar but modern perspective about a group of kids who just want to fit in and throw ninja stars.

Gentle, funny, and incredibly vulnerable, Ally Pankiw’s I Used To Be Funny is an unflinching look at the complexities and inconsistencies that accompany trauma recovery.

Continuing the stylistic trend of Johnson’s previous work, especially his sci-fi mockumentary Operation Avalanche, at times BlackBerry feels like a documentary, which suits the true story it’s based on very well.

Written and directed by Celine Song, Past Lives centres on Nora (Greta Lee) and Hae Sung (Teo Yoo), former childhood sweethearts who reunite after 24 years.

Offering up serviceable (if more than a tad messy) family fun, Haunted Mansion comes close to recapturing Disney's straight to home video glory, complete with a dance party finale.

Hounds, is a bleak portrayal of the criminal underbelly within the Casablancan Medina, where no man is safe from mafia led antics, and this movie gives us a peek into how drastically lives can be changed within one night.

Melbourne International Film Festival has officially wrapped up, having boasted its 71st edition. After weeks of browsing through the program, swapping sessions, making and re-making calendars, and watching screeners, Eli Robinson would like to think he has a decent handle on some pretty cool short films.

Though it shoots well above its budget in terms of its production value, and features potentially star-making turns from its central actors, You'll Never Find Me winds up feeling more like a sheep in wolf's clothing, fizzling out before it can attempt to wow you with its hypnotic but overlong conclusion.

The Accelerator Shorts 2 Package screened as part of the Melbourne International Film Festival.

Late Night with the Devil is destined to be a halloween cult classic.

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.

Featuring Argento at his most feverishly creative, Phenomena lives up to its title, providing an experience that's as difficult to rationalise as it is rare to come by.

Passages is a pretty film that entertains, may make you tear up, and could make you feel ashamed just by watching Tomas run around as he does.

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.

Voyage of the Demeter's real problem is that the audience already knows where the map leads, and the film does little in its way to add any bite.

Authentic trans storytelling is important, and this film certainly delivers! Mutt is a MIFF must-see for trans people and allies alike.