2020s
We spoke with Gavin Rothery, the director of Archive, which explores new territory in sci-fi themes like memory, humanity, loss, and fear of replacement.
Despite a potentially fun premise, Elvis from Outer Space does not quite capture the B-movie joy it appears to be chasing.
The Beach House has all the makings of a home run, but the execution leaves viewers checking their watches.
With a a compelling, chemistry-driven narrative, Palms Springs is refreshing take on the time loop genre and one of the year’s best comedies.
Relic, through a deliciously brilliant depiction, personifies and tackles the social and familial issues surrounding dementia.
The Old Guard delivera propulsive sets of action, plenty of over-the-top violence, and breathtaking vigorous energy from Charlize Theron.
Guillaume Pierret’s Lost Bullet is a wannabe Mad Max that takes in pride in flaunting its no-nonsense action movie tag.
At the center of Woo Min-ho’s The Man Standing Next lies a political scandal that has puzzled historians for decades.
If you are in the mood for a light, funny, horror-comedy – heavy on the comedy – Useless Humans is something special.
Ju-On: Origins may not reinvent the formula of the franchise, it still has enough stuff to give the audience a terrifying nightmare.
A Girl from a Box is a light-hearted short that manages to delve deep into modern relationships with a funny and delicate touch.
Despite feeling disjointed at times, Wake Up: Stories from the Frontlines of Suicide Prevention is a highly informative piece of filmmaking.
James Benning’s latest work examines the ghostly spaces of human inhabitation through its austere and formalist rigour.
This slick spy story has too many tricks up its sleeve, leading more to confusion than thrills.
For this report from the virtual Sydney Film Festival 2020, we delve into thirteen of the short film finalists.