Glenn Dunks

Here’s another interesting performance from Kristen Stewart – even if the film itself comes up short.

The film’s diversity should be celebrated – but in 2020 we expect more than just a queer cast in a queer story.

This impressively frugal micro-budget Australian that recently premiered at the Sydney Film Festival.

This is probably the whitest movie you will see all year.

The Kimberley region is one of the most untouched natural landscapes in the world.

Focusing on the story of elder queer people, this Australia documentary will have great value into the future.

This documentary wants to have its cake and eat it too, by letting you into the mind of fans while letting you laugh at them.

Only in its score and costume design does this film truly shine.

This is a wonderful and charming film and a classical slice of entertainment.

There are loads of great films on the streaming service Kanopy. And the best part? It’s free.

The Australian stage is so chock full of great stories that it is a constant oddity of the local film industry that so few of them are ever adapted into movies. I’m not exactly sure how comedian Damian Callinan’s one-man show could have possibly worked on stage considering the logistics of its sprawling character-focused story. […]

Glenn Dunks picks the best LGBTQ films currently available in Australia on Netflix, Stan and SBS on Demand.

This biopic of artist Adam Cullen is one of the stand-out Australian dramas of 2018.

This film is a tribute to Glenn Close’s talents as not just a brilliant actor, but a compelling leading lady who has persevered across four decades.

Films don’t get more independent than this slice of gothic mystery, the sophomore feature from director and co-writer Donna McRae. A step up from her 2011 debut – the black-and-white student film curiosity Johnny Ghost, which won her awards at both Melbourne and Berlin underground film festivals – Lost Gully Road is a suspenseful yet […]

Mamma Mia! Here We Go Again. Just the title alone sounds like a threat. That pun of a subtitle certainly doesn’t fill one with confidence that this ten-years-later blend of sequel and prequel is going to be any different to the rather ghastly original. Thankfully, whatever it was that kept the 2008 film from capturing […]

Jill Bilcock is one of Australia’s greatest film practitioners.