Culture

Flawed but utterly mesmerising, Jane Campion’s The Power of the Dog demonstrates her mastery of filmmaking.

Sydney Festival’s new director, Olivia Ansell, wants to remind the city of its unruly histories.

In Family: Visions of a Shared Humanity at the Art Gallery of New South Wales, video artists explore the racial politics of colonial diasporas.

You would have said, remember that the opening exchanges are just rituals: how you are, what you’ve been up to, the weather, the traffic – it isn’t all that important what any of you say, it’s just the saying itself that matters. It’s not seeking information but just signalling safety, how you show each other you belong, that you’re friend not foe. You would have said, you’re basically just dogs sniffing at each other’s butts. No. Not that bit, actually. You would most likely have remembered that no one ever takes that well.

A major inspiration behind Jacek Koman’s current role is the father-son love story in Marilynne Robinson’s Gilead.

Games such as Far Cry draw on colonial histories but seldom move beyond the imperial gaze.

A poignant Western Sydney exhibition demands we pay attention to visions that women have long made material.

Is judging psychopaths from the safety of our living rooms a way of quelling our pandemic fears?

On the brink of their biggest release yet, Victoria Legrand and Alex Scally reflect on what has made Beach House the darling of indie pop.