Overall it was a great time seeing all these short films, and even if the films themselves weren’t always entertaining, witnessing the audience’s reactions absolutely made up for that.

It’s Raining in the House explores the story of two Belgian teenagers who live in poverty, as they navigate the summer with an absent mother and a proclivity for getting themselves into trouble.

Can truth reveal itself in Perfect Days? Or is it a beautiful simulacrum, contemporary Japan through the gaze of the international film market?

Insightful, hilarious yet emotional, director Ili Baré leads the audience through a surprising journey behind one of the world’s most viewed sports competitions, The Australian Open. 

Gentle, funny, and incredibly vulnerable, Ally Pankiw’s I Used To Be Funny is an unflinching look at the complexities and inconsistencies that accompany trauma recovery.

Continuing the stylistic trend of Johnson’s previous work, especially his sci-fi mockumentary Operation Avalanche, at times BlackBerry feels like a documentary, which suits the true story it’s based on very well.

Hounds, is a bleak portrayal of the criminal underbelly within the Casablancan Medina, where no man is safe from mafia led antics, and this movie gives us a peek into how drastically lives can be changed within one night.

Melbourne International Film Festival has officially wrapped up, having boasted its 71st edition. After weeks of browsing through the program, swapping sessions, making and re-making calendars, and watching screeners, Eli Robinson would like to think he has a decent handle on some pretty cool short films.

Though it shoots well above its budget in terms of its production value, and features potentially star-making turns from its central actors, You'll Never Find Me winds up feeling more like a sheep in wolf's clothing, fizzling out before it can attempt to wow you with its hypnotic but overlong conclusion.

The Accelerator Shorts 2 Package screened as part of the Melbourne International Film Festival.

Late Night with the Devil is destined to be a halloween cult classic.

David Robinson-Smith, director of Mud Crab (MIFF 2022), returns to MIFF 2023 with We Used To Own Houses, an explosive cine-poem about the housing crisis.

Featuring Argento at his most feverishly creative, Phenomena lives up to its title, providing an experience that's as difficult to rationalise as it is rare to come by.

Passages is a pretty film that entertains, may make you tear up, and could make you feel ashamed just by watching Tomas run around as he does.

If this scene and the overall use of tension represent the start of a pattern for Jack Clark and Jim Weir, I look forward to catching their next film.

Authentic trans storytelling is important, and this film certainly delivers! Mutt is a MIFF must-see for trans people and allies alike.

Australia has been aching for a story like this, and it feels so good to finally see it. If you’re one of the lucky ones who snagged a ticket to the sold out MIFF screenings, then enjoy!

Time Bomb Y2K delivers an earnest archival examination, unraveling the intricacies of the Y2K phenomenon – delving deep into the global anticipation for a potential digital doomsday.

With Love to the Person Next to Me is not a perfect film, but it does have something that many films with larger budgets lack- a soul.

Bodies Bodies Bodies should be referred to as the golden standard for films in the future wanting to strike the perfect balance of social commentary and top tier comedy.