Screen News Film

Filmmaker Markus Stone looks at how to film without a crew by assembling a mobile travel kit of cameras, lights and sound equipment.

Spoiler alert: it's more than just heavy lifting.

Emu Runner is a quiet film of a child dealing with grief and her bond with the emu, nguri told with the Ngemba girl from Brewarrina in NSW.

Very different visions of Australia pile onto our screens, though you may have to search to find them. Plus festivals like a chocolate box of surprises.

Mirrah Foulkes' delightfully dark feature film debut gives a feminist twist twist to the squabbling sideshow couple.

With Samantha Lang as head of development, Garth Davis and See-Saw are formally joined at the business hip.

Parasite has sucked the arthouse world dry and hasn't finished. Ride Like a Girl is still out in a mad counter. Little Monsters is being unfairly dismissed.

The bestselling novelist and screenwriter of 'Clickbait', Netflix's first Melbourne project, talks story structure, terrible first drafts and the myth of overnight success.

Australian feminist horror anthology: from giggles to shivers in a scream of dark joy.

Lupita Nyong'o shines in a film that has Anthony Morris asking: maybe the real zombies were the tropes we revived along the way?

Palace Cinemas is the largest exhibitor committed to arthouse film and therefore festival-driven Australian productions. Now it seeks some changes in its financial structure.

Phoebe Waller-Bridge’s one-woman show leaves you wanting more – so luckily there’s two seasons of the TV series too.

Things get nostalgic at the box office this week, in more ways than one.

The latest launch of a George Johnston and Charmian Clift project pushed along by a serious literary prize.

The runner's job is a great starting point but success depends on organisation and learning a lot quickly.

Happy Sad Man's tiny team have accomplished something major in this understated documentary.

With Joel Edgerton, Ben Mendelsohn and Timothy Chalamet, David Michôd's loose version of Shakespeare's Henriad should be more epic or more fun.

After the Wedding has a small release but deserves to find an audience which enjoys fine actors subtly hacking each other up with backdrops to die for.

'Blinded by the Light' looks like a cult in the making, as 'Pavarotti' documents the truth behind high culture.

This Italo-Australian romantic drama is sincerely charming, but does that make up for its lack of sophistication?