With the retirement of its greatest living auteur, where to for anime from here? Mamoru Hosoda’s Wolf Children, plus other past and present discoveries at Madman’s Reel Anime festival, prove that the medium is in good hands.
At the New Zealand International Film Festival, it was a banner year for auteurs and their cinephile constituency.
Wellington musician Theo Taylor discusses the making of his debut feature, Scenes in My Head—a belated return to the ethos first cultivated by the Aro Valley film movement.
Abbas Kiarostami’s follow-up to Certified Copy is a brilliant formal exercise in which the audience, as usual, is part of the puzzle.
Goblin play Suspiria, North by Northwest on the big screen, Ulrich Seidl’s Paradise Trilogy, and other brief observations from the opening weekend of the New Zealand International Film Festival.
At the New Zealand International Film Festival, a conversation with Daniel Joseph Borgman ahead of the Australasian premiere of his debut feature, The Weight of Elephants.
Notes on Alfred Hitchcock’s underrated 3-D murder mystery and King Vidor’s underseen silent-era masterpiece, screening in retrospect at the New Zealand International Film Festival.
Jem Cohen explores the fluidity of art, the post-punk ethos, and the invigorating act of seeing and thinking in his absorbing new film.
Joshua Oppenheimer, whose staggering documentary is essential viewing at the New Zealand International Film Festival, talks in-depth about filming Indonesia’s killer elite.
Cinematic discoveries and dead ends from across the Tasman.
Notes on the Sydney Theatre Company’s flagship production of 2013, starring Cate Blanchett and Isabelle Huppert.
Previously at the Wellington Film Society: romance in a blaze of glory.
At the International Film Festival Rotterdam, Song Fang’s astute debut feature; plus, via “Changing Channels”, Hirokazu Kore-eda’s first foray into television.
At the newly christened Autumn Events, four films by Asghar Farhadi.
Previously at the Wellington Film Society: furtive moments/bodies in motion.
Previously at the Wellington Film Society: a screwball primer.
On the virtues and pitfalls of an art cinema utopia; plus, Penumbra, Kira Muratova, and Sebastian Hofman’s Halley.
Previously at the Wellington Film Society: Monte Hellman’s road to nowhere.
The year’s unexpected journeys in film—lest this be remembered as the summer Hollywood came to town and sucked us in once more.
Endings were nigh at the New Zealand International Film Festival—thematically, the richest on record.