First things first: Corroboree is, as far as recent Australian cinema goes, a bit of an anomaly. When you look at most of this country’s recent output, from Somersault (Cate Shortland, 2004) to Kenny (Clayton Jacobson, 2006) and back again, there are very few, if any,

A middle-aged woman, cigarette dangling casually from her mouth, enters from a door at the back of the “space”. She whispers something to her doting props man – something about the bags she has to carry – and takes a

Six years ago, in the pages of this journal, former director of the Melbourne International Film Festival Geoff Gardner described the DVD distribution of Jean-Luc Godard’s films as both “spotty and, really, rather irrational”. He had a point, at least at

“New media” is a funny term—part buzzword, part discursive umbrella—which gets bandied around a lot these days without anyone really questioning its semantic suitability. Like the pesky “post” in “post-modernity” (a term which could itself do with a far more

According to film artist, writer and all-round agent provocateur Philip Brophy, cinema as once we knew it is dead—indeed, it has been for some time now. However, Brophy’s eulogising lacks the doom and gloom of Godard’s. If you are taking

And so the seemingly harmless bushman, his head cocked obliquely, his mouth slightly ajar, shoots an intense, protracted stare at the young man sitting across from him. It’s a pivotal and revealing moment, perhaps the key moment of the entire

“I’m going to see so much that my eyes are going to bleed!” I told my friend Mark excitedly. It was early July and we were sitting in my room at university, looking over the program for the 14th Brisbane

A lot of attention has been garnered as of late by Jonathan Caouette’s 120-something dollar magnum opus, Tarnation (2003), which he cut together from a miasma of his own home movies using Apple’s consumer-level iMovie program. I’ve not seen Caouette’s film as