WEB EXCLUSIVE | REVIEW | NZIFF Written by Ricky Lai | Ricky Lai (he/him) | @rickthelai on IG & Letterboxd | Columnist Remake dir. Ross McElwee United States, 114 minutes ‘You can see the lettering in the mud.’ Some folks just can’t put down the camera. Earlier in the week before seeing Ross McElwee’s meta-documentary Remake, I caught Brydie O’Connor’s Barbara Forever, a feature on American avant-garde pioneer of queer cinema, Barbara Hammer. Hammer was essentially an archiv

WEB EXCLUSIVE | REVIEW | NZIFF Written by Trevor Pronoso | Letterboxd: @CleverGurl | Instagram: @trev.pro | Contributing Writer Leibniz – Chronicle of a Lost Painting (2026) dir. Edgar Reitz, Anatol Schuster Germany, 104 mins With the motion picture camera came the promise of ambient facticity no longer as something to be struggled for but as an automatic by-product of the medium itself. It appeared as though stories could be immediately embedded in the reality in which the

WEB EXCLUSIVE | REVIEW | NZIFF Written by Trevor Pronoso | Letterboxd: @CleverGurl | Instagram: @trev.pro | Contributing Writer For the dedicated cinephiles reading this, most discourse surrounding Dry Leaf hits the nail on the head as to why this should be on your immediate radar: an imaginative synthesis between impressionist/post-impressionist painting alongside the patient cinematic sensibilities of Abbas Kiarostami. The real kicker is filmmaker Alexandre Koberidze's ing

WEB EXCLUSIVE | REVIEW | NZIFF Written by Trevor Pronoso | Letterboxd: @CleverGurl | Instagram: @trev.pro | Contributing Writer The Wizard of the Kremlin dir. Olivier Assayas France/UK/USA, 145 mins Olivier Assayas is a known admirer of Guy Debord, which—despite my not having seen many Assayas films—allows me to make the fair assertion that The Wizard of the Kremlin is a work of détournement (he'd probably let film writers like me make such comparisons before he does), albei

WEB EXCLUSIVE | REVIEW | NZIFF Written by Trevor Pronoso | Letterboxd: @CleverGurl | Instagram: @trev.pro | Contributing Writer The Ice Tower dir. Lucile Hadžihalilović France, 145 mins There's this quote by Terence Davies that immediately popped into my mind halfway through watching The Ice Tower, where he talks about his first time seeing Singin' in the Rain (1952) at the age of seven: "During that scene in the rain, I cried and cried and cried… [My sister] asked, 'Why are

REVIEW | WEB EXCLUSIVE Written by Tashi Donnelly (she/her) | @tashi_rd | Editor Ahead of opening night, I caught up with director Grace Augustine to talk about reimagining Henrik Ibsen’s An Enemy of the People for present-day Aotearoa. You can read that interview here. She told me the production was motivated in part by increasing nitrate contamination in our freshwater, and by a desire to create political theatre that asks audiences to think critically about the systems gove

REVIEW | ISSUE NINE | WHAKAKATA / HUMOUR Written by Trevor Pronoso | Letterboxd: @CleverGurl | Instagram: @trev.pro | Contributing Writer With Hasan in Gaza (2025) dir. Kamal Aljafari France / Germany / Palestine / Qatar / Switzerland, 106 mins Within the first 30 minutes of this film, I could already tell the differing cinematic temperaments of director Kamal Aljafari and his tour guide, Hasan Elboubou. Throughout With Hasan in Gaza, Kamal would often instruct Hasan to take

REVIEW | ISSUE NINE | WHAKAKATA / HUMOUR Written by Ricky Lai (he/him) | @rickthelai on IG & Letterboxd | Columnist The first UniFest short film competition resembles the kind of combination between creative outlet and filmmaking practice which I would have adored during my studies. It’s reassuring to see a body of undergrads wishing for the same, taking that into their own hands – run by the students, for the students. Each entry was held down by only two creative constraint

COLUMN | ISSUE NINE | WHAKAKATA / HUMOUR Written by Ricky Lai (he/him) | @rickthelai on IG & Letterboxd | Columnist Da Hip Hop Witch (Dale Resteghini, 2000) Directed by the music videographer who’d go on to lend tone-deaf visuals to Busta Rhymes’ ‘Arab Money, Da Hip Hop Witch was a Blair Witch parody riding on four plots interwoven with no discernible rhythm. (A) Female staff at the office for a tabloid magazine fight off their creep of a boss. (B) A gang of youngins from Sal

NEWS | ISSUE NINE | WHAKAKATA / HUMOUR Written by Caeden Tipler (they/them) | @caedentipler | Contributing Writer The time is now for Aotearoa cinema. Recent films, such as Mārama and Big Girls Don’t Cry, are garnering international attention. And films like Caterpillar and The Weed Eaters have become instant cult classics for audiences at home. It seems intuitive, then, that our largest film festival, Whānau Marama: New Zealand International Film Festival, would embrace this