Set in Český Krumlov, the hometown of Egon Schiele’s mother, Taboo. Egon Schiele offers a bold psychoanalytic reading of the artist’s deep connection to this Bohemian town—both as a physical place and a symbol of maternal longing, desire, and confinement. Through Schiele’s paintings, writings, and poetry, the film explores his troubled relationship with women, his obsession with time and death, and his raw, modern vision that is still unsettling today. Drawing parallels with Kafka and the decline of the Austro-Hungarian Empire, Taboo. Egon Schiele is a poetic journey into the mind and legacy of one of the most radical artists of the 20th century.

When Lou, a gentle purple creature with an embarrassingly stretchy trunk, rescues Kiri, an ungrateful little dinosaur, from a flood, they’re swept into the greatest adventure in prehistory!

When a messy millennial underachiever accidentally gets alien-pregnant she must overcome sceptical doctors, a useless baby-daddy, and her oversharing mum in order to survive and reclaim her life.

The Taranaki Media Archive a vital resource preserving the history of the Taranaki region presents a fresh journey through time.

The cinema of Jane Schoenbrun is full of director surrogates, but few have felt closer to home than Kris (Hannah Einbender), an emerging filmmaker whose sexual frustration is reflected in her rigourously academic approach to her work, a worldview which is upended when she is hired to ‘reinvigorate’ the musty carcass of ‘70s slasher franchise Camp Miasma, whose influence has waned in the wake of endless shoddy sequels and cash-ins. Hoping to glean insights on how to tell a new story in this universe, Kris seeks out the original film’s final girl, Billy Preston (Gillian Anderson), a seductive recluse who lives in the hollowed-out set where she once found cinema stardom. Snowed in, Kris and Billy find their attraction spiralling into psychosexual mania as the line between reality and Miasma blurs. Schoenbrun’s attempt at the ‘sleepover classic’, Camp Miasma is at once hugely transgressive and invitingly cosy. As Kris finds freedom from over-intellectualising in the sublimity of sexual liberation, Schoenbrun takes their place as one of America’s most important young filmmakers, succeeding I Saw the TV Glow’s devastating lament for the life unlived for a mesmeric ode to horniness and matching your own freak.