ScreenHub Australia

8 stories

ScreenHub AustraliaAustraliaMcLeod’s Daughters reboot set to film in regional Victoria McLeod's Daughters is officially set to film in regional Victoria, thanks to state production funding.

10.29

ScreenHub AustraliaAustraliaBeloved actor Patrick Stewart passes, leaving a multi-generational legacy Patrick Stewart endeared himself to generations of film and TV watchers through a rich array of performances.

10.29

ScreenHub AustraliaAustraliaVicScreen launches new First Peoples Screen Strategy VicScreen's four-year First Peoples Screen Strategy is designed to support sustainable screen careers.

10.28

ScreenHub AustraliaAustraliaScreen Australia, SBS and NITV announce 9 new projects for Digital Originals initiative Participants in the Digital Originals initiative will get mentorship and screen development opportunities.

10.28

ScreenHub AustraliaAustraliaUNSW to host Splice festival in 2027 to connect art, tech and games creatives UNSW's Splice festival aims to connect talent from the arts, technology, film and games.

10.27

ScreenHub AustraliaAustraliaAunty Donna’s Haven’t You Done Well Productions announces first feature film 'Crime Casters' will star David Wenham, Alexei Toliopoulos and more alongside the Aunty Donna crew.

10.27

ScreenHub AustraliaAustraliaScreenwest announces changes and added investment to First Nations funding programs Screenwest aims to make its First Nations funding program more 'relevant, accessible and impactful' with new changes.

10.27

ScreenHub AustraliaAustraliaAustralia’s National Film and Sound Archive has rediscovered a lost 1926 silent film The Little Irish Girl starring Dolores Costello has been considered lost since the 1940s.

10.26

Our mark is 銀幕, ginmaku — the silver screen, and the same two characters in Japanese, Chinese and Korean.

I came to Tokyo at twenty-three for a summer job at a Shibuya mini-theatre and the job never quite ended. Fifteen years of festivals later I still think the only review that counts is the one the room gives you: where the laugh lands, the moment three hundred people stop moving at once, whether anybody stays for the credits.

Cinepuuulse follows Asian cinema — Japan, Korea, China, Taiwan, Hong Kong, Vietnam, Thailand — across about a hundred and twenty sources. A good number of them are Spanish, French and Portuguese, because those countries programme this work seriously and write about it better than most of the English-language trade. Genre and art-house get the same seat here. I am not ranking them, and nothing is scored out of ten.

Each story is a headline, a short excerpt, one still and a link to the outlet that did the reporting. We never republish the piece, and the still belongs to its studio or its photographer. A Korean trade paper appears in Korean, a French review in French. We point at the work; we do not put words in anyone's mouth.

— Daren Wise, Tokyo