With the release of Puan (2024), co-directed with María Alché, Honi Soit sat down to ask Naishtat about comedy, time, existentialism, and their place in the ever-growing and perplexing canon of New Argentine Cinema.
Browsing: Culture
Noticing a gap in the market in Australia, Mumbi Hinga joined forces with longtime-collaborator Safia Amadou, and the Arts and Cultural Exchange (ACE) to provide a platform for African voices to be heard through film here.
Starting in 1997, the Japanese Film Festival Australia (JFF) was created with the aim of increasing global interest in Japanese…
Holding your own in this scene is already tricky enough, but coming into your 6th year of existence with a mission of creating a safe space for creatives to emerge and connect with each other
Great entourages that are stripped from Lear and the battles fought for the nation fade behind the family. Evan’s approach is to centre the political on the personal.
Bigfoot fucks, but not enough — and it’s breaking the Zellner brothers’ hearts.
In a way, we were plunged into a boys’ “locker room”, emphasising how the male private-school debating culture fosters a fever of sexism and misogyny that parallels or even outweighs other cultures, such as sports.
While the tension between these two women is a focal point of the film, it is a poignant reminder that the industry intentionally manipulates the lives and experiences of women to distract from the deeply misogynistic foundation it thrives on.
The act of watching the documentary felt pervasive, granting the audience an incredibly intimate dissection of Shiori Itō’s life. She presents traumatising events in such a calm and clinical way through her internal monologue running through the film that you could almost forget she is investigating her own assault.
The way Kapadia shoots light is unsurprisingly beautiful, ethereal and gauzy in some moments, and golden and decadent in others.
