Review: THE DEVIL ALL THE TIME, Post-war Pulp Haunts Compelling Rural Noir

Antonio Campos excels at making damaged or heinous characters front and centre, getting under the skin of a socio-psychopath (Afterschool, 2008 or Simon Killer, 2012) or delving into mental health issues and depression (Christine, 2016), Campos finds entertaining ways to...

Review: I'M THINKING OF ENDING THINGS By Charlie Kaufman

In director Spike Jonze’s Adaptation, screenwriter Charlie Kaufman is in the film as himself played by Nicolas Cage. That character puts his own spin on the book in that film when he is tasked with writing a screenplay for it....

Review: THE ARGUMENT, Trifling Theatrical Experimentation

Robert Schwartzman (Dreamland, The Unicorn), part of film family royalty (brother is Jason Schwartzman, cousin is Sofia Coppola etc.) is relatively new to Hollywood's Indies. His third feature The Argument continues the trend of approachable genre experiments inherent in his...

Melbourne 2020 Review: BLACK BEAR, a Gaslight Meta Nightmare

Black Bear could be a Hitchcock inspired-indie thriller that opens with actor--director-writer Allison (Aubrey Plaza), collecting her towel from a lake’s small dock, making her way inside a cabin where she sits, notebook and pen at the ready; a title...

Antonio Campos Tackles Rural Crime Noir With THE DEVIL ALL THE TIME

One of my favorite filmmakers Antonio Campos (Martha Marcy May Marlene, Christine) returns to features after four years and a stint on television (The Sinner) to deliver this freaky Ohio post-war crime drama The Devil All the Time. Featuring an...

Melbourne 2020 Review: SHIVA BABY, a Self-serving Schmear of Awkwardness

This acerbic feature, adapted from the short of the same name expands on the original with further complications, but the aesthetic of this chamber-piece remains equally grounded and squeamishly uncomfortable over the course of a socially excruciating afternoon. Uncomfortable in...

Melbourne 2020 Review: WET SEASON, Intricate Drama in the Monsoons

Singapore Director Anthony Chen returns after six years with his sophomore feature Wet Season. His first film Ilo Ilo (2013) is a tender masterfully shot race-class drama set during the 90s Asian recession. It follows a Malaysian native maid and...

I'M THINKING OF ENDING THINGS, The Next Existential Wonder From Genius Charlie Kaufman

Writer-Director Charlie Kaufman has had a busy year. His meta novel Ant Kind about a neurotic film critic who discovers a three month long movie and tries to capitalize from it is the second strangest jaunt from the visionary master writer...

Melbourne 2020 Review: Allison Chhorn's THE PLASTIC HOUSE, Experimental Meditations of Loss and Loneliness

There are no specifics on the where or when of it, and yet Director Allison Chhorn’s personal doco-fiction hybrid film The Plastic House remains confident of its place. The Plastic House is a quiet ode to an immigrant family-owned farming...

Melbourne 2020: Australia-Wide Digital Showcase Infuses Streaming

The impact of Coronavirus left little doubt the annual slate of festivals that kept every type of cinema across metropolitan Melbourne engaged would be severely impacted this year. Thankfully we adapt, and as streaming, and the proliferation of media available,...

ScreenAnarchy's Top Ten Films of 2019

As 2019 comes to an end, ScreenAnarchy’s global team of critics and cineastes weighs in with our favourite cinematic offerings from the past 12 months, which saw Netflix lead the charge for cementing the legitimacy of the streaming platforms, while...

Review: DIEGO MARADONA Doco, Director Asif Kapadia's Third Masterpiece

Asif Kapadia (Senna, Amy) strikes gold again with the near-perfect biopic of footballer Diego Maradona. The documentary director depicts what many consider ‘the hand of god’ in such a way that highlights both Maradona’s immense skills as a player, and...

L'Etrange 2019 Review: TRUE HISTORY OF THE KELLY GANG, an Entertaining Farcical Yarn

Based on the fictional Peter Carey novel of the same name, True History of the Kelly Gang is a far-flung reimagining and mythologising of the legacy of the armoured clad outlaw. Although the film is less affecting as a result...

Australia Korean Fest 2019: Celebrating Ten Years of KOFFIA

The Korean Film Festival in Australia (KOFFIA) celebrates ten years this year, powered by the Cultural Office, the festival is a wonderful initiative to showcase not only great films, but promote Korean culture as a whole. With exciting special guests...

Melbourne 2019 Review: MATTHIAS ET MAXIME, Xavier Dolan's Intimate Epic

French-Canadian wunderkind Xavier Dolan (there is no other word to describe him) has had a busy year. He has two films releasing in 2019, The Death and Life of John F. Donovan with a top-billed cast, and this far more...

Melbourne 2019 Review: NINA WU, A Clumsy #MeToo Psychological Drama

It would be a disservice to decent thrillers everywhere to give this Taiwanese Cannes entry the same genre label. It is a drama at best, and a very dour one that is devoid of any kind of spark, or thrill....

Melbourne 2019: ScreenAnarchy Reviews First Glance Features

Now for something a little different. The Melbourne International Film Festival, like every year, has revealed its First Glance titles. These are a hodgepodge of different program streamed films and documentaries to whet the appetite prior to the full guide...

Melbourne 2019: Premiere Funded Australian Films Break Records

The Melbourne International Film Festival (MIFF) is changing hands this year. No longer will long-standing Artistic Director Michelle Carey be steering the ship (into Francophile waters), instead Al Cossar (former festival programmer) presents a no-doubt well curated program with,...

Review: TRANSIT, Beautifully-told Noir

Director Christian Petzold’s (Phoenix) unique adaptation of the same name brilliantly twists the time and place of World War II events. The decision to depict a war narrative in this way disorients the viewer as there is no exposition to...

Review: CLIMAX, Tense, Unpredictable, Terrifying

Master provocateur Gaspar Noe returns with Sofia Boutella and a cast of non-actor dancers to spike the punch and see what happens.