Luke Buckmaster

One terrific moment in which Pat sees what he believes are the killer's shoes underneath a toilet stall door and berates him while Pamela climbs into the green van outside is reminiscent of another scene that arrived years later and was also labelled "Hitchcockian" – the footsteps down the hallway confrontation in the Coen brothers' No Country For Old Men.

There’s a feminist undercurrent in You Won’t Be Alone, its observations of the patriarchy emerging in ways totally germane to the experience. An odd kind of eroticism also emerges: neither sensual nor entirely gross, and certainly not from the male gaze. Sometimes the film doesn’t even feel like it’s from a human gaze.

This extraordinarily mundane film – a combination of words I’m fairly certain I’ve never used before – is a tremendous achievement and, in a subtle way, an amazing work of art.

The film itself is a kind of free spirit, and one that has made an indelible print on Australian cinema.

This is an enthralling drama: the best and most interesting Australian biopic since Chopper in 2000.

Perhaps the ultimate value of Nitram has nothing to do with its qualities as an intensely disquieting tone poem – though on that level the film is brilliant, marking another extraordinary achievement from Kurzel, who has a penchant for evoking gut-sinking emotional atmosphere.

This is a tremendously well-made film with a burning vitality: without question one of the most important Australian documentaries of the 21st century so far.

You’ll Never Find Me builds a profoundly creepy and spiralling momentum before everything comes together in a shockingly brilliant final act with twists that nobody will see coming – or be able to forget.

A masterpiece in minimalist horror.

Mad Max has always radiated an otherworldly vibe, a slightly sickly sensation that something at its core is fundamentally wrong.

Roeg revels in the hallucinatory, creating a wilderness that exists as much in the mind as it does the land.

This is a powerful, memorable film.

Fundamental to Relic’s psychological oomph are three excellent performances, perfectly complementing that sticky-icky ambience.

There’s a sense everything is up for grabs and the end is nigh: of consensus reality; of cinema and copyright legislation as we know it. Pop culture’s infinite cycle always spits out and reassembles content; here the process is explicit, amplified, and turbocharged.

Mercy Road is an original, darkly idiosyncratic thriller; I’ve never seen another quite like it.

Campion offsets what could have been a morose drama with an atmosphere that becomes increasingly, and unnervingly, mystical.

Sissy is a deranged pleasure to watch, though a strong stomach and an appreciation of genre protocols is highly recommended.

Baby Done is funny; it’s sweet; it means something. Most of all it’s charming.

What could have been a who’s-sleeping-with-who, tangled-web-we-weave drama quickly evolves into something much more compelling as Nation blurs the line between thriller, psychological drama and character study.

This is a fun film constructed in a smart way: an anti-high art picture that happily prioritises embellishing legend over recreating life.

Streamline’s narrative doesn’t go in the expected direction, with structural and emotional surprises making good on its promise to deliver a different kind of sports story, even if its final stretch is a tad neat.

There is much to appreciate in this film; much to like. You don’t just watch it in big bright colours; you remember it in big bright colours too.

A young Russell Crowe is spellbinding in this ugly but unforgettable film that remains hard-hitting and shockingly violent more than two decades on.

This very fine film has a way of pulling you towards its wavelength.

The cast, in weather-beaten and woebegone mode, are uniformly excellent, directed by Sen in beautiful unison, their performances different notes in the same melody.

Is this outrageous comedy sexy or revolting? Elliott proves – though this feels like the least of his achievements – that a film can be both.

More than just an Aussie horse opera, this film employs stunning scenery, technical flair and Kirk Douglas in two roles in its pursuit of an uplifting conclusion.

The result is a hot, sticky, trippy fusion of wild style and painfully genuine emotion, with plenty of moments that take your breath away.