Owen Kline’s coming-of-age black comedy Funny Pages gets the critical treatment from four of our 2022 Critics Campus participants: Andrew Fraser, Ellen O’Brien, Lamya Nawar and Brooke Heinz.

Critics Campus participant Ellen O’Brien reflects on the entanglement of fascination, aspiration and alienation when watching screen portrayals of wealth, using Halina Reijn’s Bodies Bodies Bodies as her jumping-off point.

Hannah Barlow and Kane Senes’s Sissy receives some critical attention from four of our 2022 Critics Campus participants: Isabelle Carney, James Walsh, Digby Houghton and Lily Rodgers.

Critics Campus participant Brooke Heinz speaks to producer Kerry Warkia about the importance of representation and collective creativity, as exemplified by the film Kaīnga and its predecessors Waru and Vai.

Critics Campus participant Lily Rogers examines the calibrations of suggestion, subtlety and reticence in Charlotte Wells’s Aftersun.

Critics Campus participant Andrew Fraser unravels the ethical tightrope trod by Thomas M. Wright’s The Stranger and male-focused true-crime films of its ilk.

Critics Campus participant Ellen O’Brien speaks to Under Cover director Sue Thomson about her connection to older women and homelessness, navigating the public storytelling of private and intimate experiences, and working with Hollywood star Margot Robbie.

Critics Campus participant Isabelle Carney reflects on perspective, empathy and context, as depicted in Marcel the Shell With Shoes On.