Where does cinema fit on a spectrum that includes videogames, social media, virtual reality and television. And how do different technologies change what audiences want or expect from cinema?

Fans of late 20thcentury Australian cultural history will find a lot to like in a new documentary by director Kriv Stenders about the Brisbane band The Go-Betweens.

Bertrand Bonello’s trajectory is never in doubt; his fresh faced, clear eyed actors look like lambs to the slaughter from the very beginning. It’s what happens along the way that makes it so horribly captivating.

More of a visual poem than a work of journalistic observation, a handsome coffee table book to Sherpa’s novel, and it will make your jaw drop and heart race.

Darren Aronofsky heads further into the terrain of waking nightmare than ever before, and reveals the limits of his creativity.

If this is the one film about rap music that people see this year, it’s perhaps a pity that an African American isn’t the heroine. But to the film’s credit, its attempt to subvert expectations around skin colour and musical genre is a two way street.

I Am Not Your Negro is a career high point for director Raoul Peck, who has never strayed far from exploring race and nationhood.

A stylistic gloss often comes at the expense of the original’s uneven, often gritty charm, not to mention its more upfront satire.

A critics' round table to mark the end of what has possibly been this year’s most extraordinary work for screen.

It’s about the history of Aboriginal people, indigenous art and its relationship with white copyright.