Year in review – highs and lows for female filmmakers in 2018
Amanda Jane Robinson goes through the highs and lows.
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Second Act is at its best when it lets Jennifer Lopez do her thing
Nothing new or outstanding, but it’s a nice watch.
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Despite its ambitions, Beautiful Boy is simply exhausting
When the film makes a narrative shift, its distinction is lost.
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Compelling, utterly moving… it’s no wonder Shoplifters won the Palme d’Or
An incredible portrait of generosity and precarity.
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If there’s one camgirl techno-thriller to watch on Netflix, it’s this one
The excellent lead performance and brilliant details win out.
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Stray fortifies hope in the breadth and ambition of NZ film
A character study that doesn’t patronise its audience.
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New festival celebrates radical female film pioneers
Playing Auckland’s Academy Cinemas Sept-Oct.
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Writer/director Dorthe Scheffmann on her drama Vermilion
“Friendship between women is one of those incredibly strong human relationships.”
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Chloë Grace Moretz gives one of her best performances as Cameron Post
Jennifer Ehle, too, is excellent.
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Robyn Malcolm on acting, female characters and industry sexism
“We’re 50% of the population and we’ve had to fight for 12% of the work”
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The beauty and horror of Sofia Coppola’s The Beguiled
Exploring the film’s power dynamics, colonial anxiety & command of image.
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Adrift review: navigates the same path as too many survival films before it
Some decent moments don’t sustain the rest of the film.
