Cirrus@Austlit

'In his follow-up to 2013’s gripping mystery road, writer/director Ivan Sen maintains political momentum by depicting the corruptive influence of power on small-town life and the trauma it can inflict on both its victims and those seeking redress. A unique example of ‘outback noir’, Goldstone confronts viewers with some of Australia’s most persistent problems, including indigenous dispossession, historical amnesia and the abuse of women, writes Greg Dolgopolov.'

'Despite its masterful use of haunting imagery and the affecting performance by Hollywood star Adrien Brody, the ambitious Backtrack underwhelms because of its heavy reliance on exposition and concomitant failure to build suspense. Moreover, writes Laurence Barber, it exemplifies the difficult position occupied by horror films trying to find an appreciative audience in Australia.' (Publication abstract)

'An interview with Craig Anderson, Sydney, New South Wales-based director of the film "Red Christmas," is presented. He talks about color and lighting of the film, which is Christmas-themed, development of the core storyline's ideas and themes, and political aspects of Christian terrorism showed in the film. He discusses the character of the villain of the film, role played by actor Gerard O'Dwyer, and significance of the film as a horror-comedy.' (Publication abstract)

'Craig Boreham’s feature debut dramatises the coming of age – and coming out – of a queer teenager from a migrant family living in Sydney. Certainly, more LGBTQIA visibility is important, but according to Glenn Dunks, the film misses an opportunity to illuminate sexuality’s problematic interactions with religion and culture, and perhaps falls short of faithfully depicting life for non-heterosexual young people today.'

'It’s not often that an Australian television show takes inspiration from traditional Aboriginal folklore, involves indigenous creatives both on and off screen, and adheres sensitively to cultural protocols – but this is precisely what the ABC’s Cleverman has done. Beyond that, writes Cavan Gallagher, it also refreshes the superhero genre, showing how turning to the community can be just as, if not more, gallant than the solitary messianic action audiences have become accustomed to watching.'

'It's only been six years since John Marsden's beloved novel was made into a film, yet already we've seen a television version of the same story. Emily Laidlaw examines the impetus behind the double adaptation and explores how the series has been influenced by the notions of age, race and history.'

'Taking an apologist stance towards questionable government action, done ostensibly for the nation’s protection and in its best interests, is not difficult when such atrocities are kept under wraps. However, seeing firsthand the ramifications of such action, not just on the ‘victims’ but also on everyday Australians, stirs our political consciousness – and this is precisely what Eva Orner has achieved in capturing the plight of refugees in her revelatory documentary, writes Hanna Schenkel.'

'In the world of classical music, some instruments made by master craftsmen can fetch figures in the millions — and their committed, passionate players possess similarly astronomical value in terms of professional talent. Brian Yatman delves into David Hicks' ambitious documentary on expensive strings and the exacting lives that are attendant with them.' (Introduction)

'The northern Sydney suburb of Palm Beach is located about an hour's drive from the city's centre, at the end of a narrow peninsula with a lighthouse at the tip. Known since the 1920s as a playground for the wealthy, it's nowadays a magnet for tourists, thanks in part to its use as a location for the long-running soap opera Home and Away.' (Introduction)

'In this article, the author discusses significance of genre filmmaking in television broadcasting, as of September 2016. He cites examples of genre films like the documentary "Not Quite Hollywood: The Wild, Untold Story of Ozploitation," which is a horror film, and the '"Griff the Invisible," and mentions that genres like horror, sci-fi and fantasy have always been prominent on the small screen. He notes that TV programs lower scrutiny than films, citing example of "Glitch and Cleverman."