ScreenHub Australia

8 stories

ScreenHub AustraliaAustraliaShot on Sh*t Film Festival 2026 announces record attendance The Shot on Shit Film Festival is all about short films made with small budgets and old equipment.

10.20

ScreenHub AustraliaAustraliaAustralians in Film and Screen Australia announce Untapped lab participants Untapped 2026 will support emerging screenwriters and directors to build international creative partnerships.

10.19

ScreenHub AustraliaAustraliaThe film is finished. Now what? The producer of the Australian film What About Sal? shares hard truths about getting your film out into the world – and the questions she wished she'd asked earlier.

10.19

ScreenHub AustraliaAustraliaDevolver Digital on Australian video games: ‘One of the richest scenes in the world’ At PAX Aus 2026, Devolver Digital co-founder Graeme Struthers spoke to ScreenHub about game publishing and why Australian titles stand out.

10.19

ScreenHub AustraliaAustraliaAgata the Writer questions who gets to tell history’s darkest stories The new Australian film stars Mia Wasikowska as an author wading into treacherous waters when writing about the Siege of Sarajevo.

10.19

ScreenHub AustraliaAustraliaScreen Australia and ACTF open applications for Kids IP Incubator program Those successful will receive funding and mentorship from Screen Australia and the ACTF.

10.15

ScreenHub AustraliaAustraliaAdelaide Film Festival headliner Wild Horse Nine is mordantly funny, if overly familiar In his dark new comedy Wild Horse Nine, Martin McDonagh retreads the damaged bad cop vibes of In Bruges and the political undercurrents of The Banshees of Inisherin.

10.15

ScreenHub AustraliaAustraliaSydney Film Festival 2027 submissions are now open Filmmakers from Australia and around the world are encouraged to submit their latest works for the 2027 Sydney Film Festival.

10.14

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