There’s cultural value in projecting Australia on screen
Australians respond warmly to ‘Australianness’ on screen, but local authenticity isn’t a requirement of industry or funding bodies.
Australians respond warmly to ‘Australianness’ on screen, but local authenticity isn’t a requirement of industry or funding bodies.
Nathalie Baye and Cecile de France enjoy the sort of career success that many Hollywood actors only dream of.
Hanks says today only a gay actor could play the role that earned him an Oscar in the 1993 film Philadelphia. Wrong. Actors do not need to mirror the person they are portraying.
Homegrown filmmakers and artists took a well-deserved bow at the Sydney Film Festival’s closing gala on Sunday night.
Top Gun: Maverick isn’t just an unashamed celebration of US values, it also throws a two-fingered salute at Beijing.
Two hundred years ago in Paris, journalists accepted bribes to write favourable articles and reviews for anyone willing to pay for them.
The Thor star plays a man in charge of human guinea pigs in this character-driven movie in need of a lot more character.
Disney’s latest animation, Lightyear, which features a same-sex kiss, has been denied release in more than a dozen mainly Muslim countries.
Benediction tells how British poet Siegfried Sassoon was a prominent member of an unofficial society of gay artists who congregated in London between the wars.
I think the 30-year-old American actor Austin Butler, aka Luhrmann’s Elvis, will win best actor at the 2023 Academy Awards.
Aaron Sorkin, the prolific – and wordy – playwright and screenwriter, says the world still needs heroes that don’t wear capes.
The Sydney Film Festival’s first full-scale program since 2019 is packed full of cinema’s hottest tickets.
Actor Sam Neill on working again with the Jurassic Park cast, the splendid vintage at his winery — and why his best mate is a pig.
Fast-rising star Olivia DeJonge reveals why playing Priscilla Presley in Baz Luhrmann’s biopic Elvis was her most daunting role to date.
Mothering Sunday succeeds both in its evocation of an erotic love affair and in its treatment of bereaved families who, despite their affluence, can never replace all that they’ve lost.
A teacher wonders if he should abandon his students in Bhutan to chase his dreams of being a singer in Australia in the extraordinarily beautiful film Lunana: A Yak in the Classroom.
Ever since he self-published his first novel at the age of 19, Matthew Reilly has been proving people wrong. Now he faces his biggest test … can he take over Hollywood with his new Netflix film, Interceptor?
Tom Cruise sequel may be banned in lucrative Chinese market because of his character’s leather bomber jacket.
The Stranger attracted the kind of critical attention usually reserved for the mainstream attractions at Cannes Film Festival.
The most moving part of the ceremony was the best actress award that went to Iranian Zar Amir Ebrahimi.
While Triangle of Sadness won the main prize, Australian director Gina Gammell was recognised for her debut film War Pony.
Louise is kicked out of her ex-friend’s engagement party. Some hours later she is found stabbed to death on the street.
The 30-year-old actor has won me over with romantic comedy The Valet, which is more sweet than bitter.
Who will be our next Cate Blanchett or Russell Crowe? There must be something in the water, as talented young Australians are taking over the stage and screen.
Hollywood icon Ray Liotta, who rose to fame in the legendary gangster film Goodfellas, has died at 67 while filming a movie.
Arts philanthropy has embraced the digital age, with the constraints of the pandemic spawning new schemes to buttress the cultural bottom line.
Asian-Australians make up a fair portion of our population and that fact is finally being reflected on stage and screen.
Acclaimed South Australian novelist Hannah Kent explains why her creative leap into screenwriting was so nerve-wracking.
There’s a story behind Aussiewood and why our homegrown stars and local industry play well on screens big and small around the world.
The new pop biopic from director Baz Luhrmann plunges, early on, into a morphine dripper and does not ever, realistically, tonally, return.
Original URL: https://www.theaustralian.com.au/arts/film/page/32