A look into deep time: ‘Abiotica’ review
There are few concepts so telling of the colonial Australian psyche as the ‘outback’. The word itself isolates...
Emily Green
Clipped wings: The White Crow review
‘White Crow’––or ‘belaya vorona’––is a Russian expression used to describe a non-conformist, one who does not belong. Though...
Out of the air: the sublimity of ‘Sheets of Sound’
Sheets of Sound is the latest project of Perth-based percussion performer and composer Louise Devenish, who has worked...
“It’s French, darling”- Claire Darling’s tyranny of pretty things
There is something of a sub-industry in French filmmaking devoted to the production of films designed for an...
What Remains: German Film Festival tearing down the wall(s)
For years, my idea of post-WWII Germany resembled something like this: on the East-side of an arbitrary, but...
SELF PORTRAITURE: on ‘Acute Misfortune’
In 2008, a painfully precocious nineteen-year-old Erik Jensen (now editor-in-chief of the Saturday Paper and screenwriter for this...
Lost in the Daydream: ‘Celeste’ Review
Celeste premiered last year at the Melbourne International Film Festival, and is writer-director Ben Hackworth’s first feature since...
The meeting point: 2019 ‘Revealed’ exhibition review
Towards the end of the exhibition there is a piece by Neil Butler, which shows three stupidly grinning...
SPAIN’S SLAM DUNK: ‘CHAMPIONS’ makes a mark on the 2019 Moro Spain Film Festival
At the basketball final of the 2000 Sydney Paralympics, one grumpy Australian coach watched Spain defeat Russia and...
Private places and shared spaces: ‘None of Us Are Getting Out of Here Alive’ exhibition review
This is my first time visiting the Heathcote Cultural Precinct, who have just reopened following recent renovations. The...
