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The article analyzes the film "You Won't Be Alone," directed by Goran Stolevski. It examines the depiction of witchcraft in the film and how it transcends conventional horror tropes while showcasing what lies beyond subjective human experience, the role of the witch in history and folklore and the societal position of women, and a comparison of Stolevski's film to other folklore horror films.

The article analyze horror film "The Howling III: The Marsupials" directed by Philippe Mora. Topics include examines that film is a critical Pandora's box when it comes to a range of questions that culminate at the intersection of cult-film research, taste, national cinema and screen studies more broadly; and reports that it is a dynamic of attraction and repulsion at work in the film, which knowingly pulls these broader tropes inwards towards itself while.

The article offers information on biopic film "I Am Woman" by Unjoo Moon based on lives of pop singer Helen Reddy. Topics include examines that the movie is consolidating second-wave-feminist boomers' place in history and bringing to life their battles for so many things that younger, contemporary feminists often take for granted.

The article presents a criticism of the film "True History of the Kelly Gang" directed by Justin Kurzel. Particular focus is given to the dense fog and smoke running through his film as a consistent visual motif. The author discusses acts of writing and reading and history-writing itself is intrinsically dominated by biased power structures and medium of traditional three-act cinema.

The article analyzes the film "Alvin Purple" directed by Tim Burstall. Particular focus of the film is given to the sexual exploitation, sexual-assault fantasies and sexploitation. According to the author, sexual addiction is an inappropriate subject for comedy in Australia where cases of gendered and domestic violence are on the rise.

An interview with Craig Anderson, Sydney, New South Wales-based director of the film "Red Christmas," is presented. He talks about color and lighting of the film, which is Christmas-themed, development of the core storyline's ideas and themes, and political aspects of Christian terrorism showed in the film. He discusses the character of the villain of the film, role played by actor Gerard O'Dwyer, and significance of the film as a horror-comedy.

An interview with film director Joseph Sims-Dennett is presented. Topics discussed include taking up of domestic violence issue in his films which is prevalent in Australia by using horror and mystery thriller genre, talks about the theme used in the movie "Observance" and use of American accents in Australian film by contacting many film distributors so as not to discriminate Australian films.

The article presents views of Jason Lei Howdon, director of the film "Deathgasm" on the genesis of his film and its place within a supposed new wave of New Zealand horror comedies. Topics include the film taking conservative fears of metal and horror as its starting point, and the success of the film both critically and commercially stated to suggest a broader cultural climate that is particularly receptive to Howden's unique blend of splatter-filled horror, metal and comedy.

The article analyzes the film "Housebound," by Gerard Johnstone. Particular focus is given to the relationship between mother and children, which is the central to both the narrative and thematic dynamics of the film. Details on the evolutions of nogoodnik Kylie Bucknell, played by Morgana O'Reilly and her mother Miriam, played by Rima Te Wiata are presented. The author mentions that the film has a distinctly feminist edge.

The article explores the horror film genre making in Australian in the 1980s. It cites the presence of subjective retelling of the Australian film history in an attempt to rewrite Ozploitation cinema back into the broader narrative of the genre. It also notes the pursuance of ghost stories to provide the basis for some of the best the local genre has offered in the past few years in the country.

The article examines the concept of truth, love and human relationship in the film "Annie Hall" director by Woody Allen. It mentions that this film was an autobiographical in nature as it depicted the romantic relationship between Allen and an actress Diane Keaton. It states that the though film uses comedy as a weapon in order to look for a truth which is not light-hearted but it is the incessant endeavor of characters for survival which grants the movie an enduring legacy.

In this article, the author focuses on aspects of democracy and political scandals in reference with the film "All the President's Men" by Alan J. Pakula. Topics discussed include the documentation of political scandals of the 20th century that led to the resignation of U.S. President Richard Nixon, depiction of investigation led by journalists Bob Woodward and Carl Bernstein in the film and the depiction of pro-American ideological agenda in Pakula's film.

The article looks at the Australian found-footage horror trend, focusing on the films "The Tunnel" and "Lake Mungo." It explores the diversity of the subgenre as well as discusses the source of its inspiration. Documentary and amateur filmmaking are cited as the most obvious source of the found-footage genre. It states that the genre actively seeks to blur the lines between amateur and professional filmmaking.

The article presents criticism on the film "Thelma & Louise," directed by Ridley Scott. It notes that film has addressed the issue of power and gender. It cites that the film has offerd a useful starting point from which to reflect on feminism. It mentions that for art historian and critic Peggy Phelan, feminism is the conviction that gender has been a fundamental category for the organization of culture.

A film criticism of "Frost/Nixon," starring Kevin Bacon and Sam Rockwell, directed by Ron Howard, is presented. The article contends that, while the film is not always historically accurate with regards to the Watergate Scandal involving former President Richard Nixon, that it succeeds in showing the difficulty in separating personal prejudices and politics.

The article discusses the role of cinematic horror films in disseminating and understanding the horrors of history. It states that horror stories in films draw a clear line between horror as a generic construction and the real horrors of society including the Vietnam War, the Holocaust, and the AIDS epidemic. It adds that horror films can be used to study history in order to understand the crucial factor of lived human experience.

The article discusses the excessive absence of Australian paracinema to Ozploitation films such as "Harlequin" or "Dark Forces." It states that the excessive absence of national identity and politics configuration and diegetic and non-diegetic manifestation in Ozploitation are exhibited in "Harlequin." It notes that the horror films "Night of Fear" and "Patrick" were created with an excessive absence of sound. Australian paracinema-related works and the plot of "Harlequin" are cited.

The article reviews the motion picture "Acolytes," directed by Jon Hewitt, starring Sebastian Gregory, Hanna Mangan-Lawrence and Joshua Payne.

The article reviews the film "Not Quite Hollywood," directed by Mark Hartley and starring Phillip Adams, Christine Amor, and Glory Annen.

The article reviews the film "Black Water," starring Diana Glenn and Maeve Dermody, directed by David Nerlich and Andrew Traucki.

The article reviews the film "Katusha," starring Greg Eccleston and Sarah Chalmers, directed by Igor Grabovsky.