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Australia's Youngest Female Writer, Ashleen Khela, Exclusively on Indus Age – Indusage

REVIEW: 'Strange Little Birds' is Garbage that's worth picking up

The Stranglers' 10 greatest songs, ranked

We round up the ten very best songs by one of punk rock's most controversial bands, The Stranglers.

The Anchoress on covering New Order, her new album & Brexit touring

The Anchoress, aka Catherine Anne Davies, has today (April 14) released a new single – a cover of New Order’s ‘Bizarre Love Triangle'.

NYFF 2021: Hit the Road, Unclenching the Fists, The Girl and the Spider | Festivals & Awards

A dispatch on three films from the New York Film Festival, including the debut of Panah Panahi.

2021 New York Film Festival highlights: Benedict Cumberbatch's riveting performance in "The Power of the Dog"

Jane Campion's masterful story of a sadistic Montana rancher is one of this week's notable premieres.

Tori Amos Released "Strange Little Girls" 20 Years Ago Today

The Big Takeover: Garbage - No Gods No Masters (Infectious Music)

Ramon Zürcher and Silvan Zürcher • Directors of The Girl and the Spider

(The article continues below - Commercial information) Cineuropa: Was this a challenging film to finance and get into production? Silvan Zürcher: Because it was our first project outside of an academy [film school], we’re not so good at talking about what’s normal and what’s not, because it’s our first time in this field. We first tried to get the film financed in Germany; it was pretty difficult because the logic in Germany is such that the TV channels are important for others to then jump on board to finance it as well. We then tried our best in Switzerland, where it’s more liberal in the way they finance a movie – for instance, it’s not so crucial to first have a TV channel on board, and then the rest. There are also other paths that one can follow, so in Switzerland we got lucky with this production company, Beauvoir Films, and

Review: The Girl and the Spider

André M. Hennicke) and his younger assistant Jan ( Flurin Giger) are making their presence noisily known, and their romantic interests too. Meanwhile, an older downstairs neighbour Kerstin ( Dagna Litzenberger Vinet) forms an unlikely love triangle with Jan and Mara. There’s a growing form of experimental filmmaking called the ‘desktop documentary’, depicting the sometimes detail-ridden screens of our computers and phones. The opening shot is just that: an architect’s floor plan of the apartment, with a cursor hovering across the diagram’s parallel lines. Apt for a work that features an extended, surreal dialogue riff on ‘.pdf’ file formats,