Merryana Salem

In an algorithm-fuelled attention economy, trailers feel increasingly like compressed versions of whole films. As studios turn pivotal moments and big reveals into shareable online content, are we at risk of losing the art of a great trailer?

MIFF Critics Campus: On the handling of intergenerational LGBTQIA+ issues in Suk Suk and Ellie & Abbie (& Ellie’s Dead Aunt).

The explosion of film and TV with female protagonists in recent years has been celebrated as a win for diversity. But when people of colour are relegated to ensemble roles, and white men still dominate behind the camera, is this just a smokescreen for the old hierarchy?