Taylor Mitchell

Con artists are enjoying an extended moment in the spotlight—but for a genre that delights in screwing over the rich, there’s surprisingly little resistance to capitalism itself. Is there a more subtle critique to be found in the art of the scam?

Highlights from the Melbourne Women in Film Festival Critics Lab

The plotlessness of the pandemic has prompted people to reimagine their lives within a definitive narrative arc. But does the desire to see ourselves as protagonists deflect from the structural forces that shape our communities?