Film

In the shadow of a devastating earthquake and an all-pervasive war, the 20th Marrakech International Film Festival featured some of the best cinema from Africa and the Middle East.

Ridley Scott’s epic Napoleon isn’t as bad as his worst films, nor is it as good as his best.

Martin Scorsese’s latest film is a failure of execution and insight, a revisionist Western that hasn’t resolved its central questions.

Australian director Kitty Green’s highly anticipated second feature, The Royal Hotel, continues her lifelong quest to challenge imbalances of power.

In Muayad Alayan’s moving A House in Jerusalem, showing at the Palestinian Film Festival, the present is haunted by a violent past.

Talking Heads’ iconic Stop Making Sense came at a critical juncture of a volatile career. The reissue of the film and album gives us a chance to be stopped in our tracks all over again.

La Chimera is a transcendent film that blurs the boundaries of the ancient and the modern and recalls the greatest artists of Italian cinema.

Director Noora Niasari’s debut feature film Shayda – Australia’s official nomination for the international Oscar – is driven by dark childhood memories.

Celine Song’s semi-autobiographical debut feature Past Lives is a profound reflection on loss and love.

Since his breakout role in Wes Anderson’s 1998 film Rushmore, Jason Schwartzman has embodied eccentric loners. In Asteroid City, his familiar persona is given its greatest emotional weight.