I had a great week last week because it was the Sydney Film Festival, which serves as a yearly excuse for me to go to the cinemas a bunch. I know, otherwise I NEVER go. In 2022, I managed to see 12 movies in the 12 day festival, whilst working full time. This ended with me having COVID, of course. Wouldn’t change it for the world!
This year, I had 6 films on the schedule. Still busy, but much more approachable. I just checked and they screened 242 films, so really I barely scratched the surface BUT I’m overjoyed with my picks.
If you’re interested in getting involved in future years, here are my hot tips for picking and prioritising:
SFF happens soon after Cannes, so you can often catch some films that have just premiered there. The first thing I look for is the “Cannes Selected” genre to look for any that got a lot of buzz at Cannes. Similarly, you’ll see some that premiered at Berlinale and Sundance.
A misconception is that you’ll be seeing completely unknown, small budget films. This is not true. Looking for actors and directors you already know and love is a great place to start.
Filtering by Official Competition will show you the films that are up for the major award, giving you a good chance to see a potential winner.
The watchlist feature on the SFF website will help you plan without clashes. Every movie shows a few times at different venues, making it easy to craft a perfect schedule for yourself. If you realise there’s an obvious time you haven’t found something to watch, you can then go back and search by that date.
If there’s anything that looks promising but I haven’t heard of, I have a quick little check on Letterboxd. Usually there will be at least a few reviews (usually from other festivals) to give you an idea of quality.
With my shortlist I also do a bit of research to see if they have an Australian release date yet. If they do, and I am not that sold on seeing early, I usually remove. However, if they don’t have a release date (because often they might not even have a distributor yet), I see this as a fabulous opportunity to be ahead of the curve. My favourite place to be.
Finally, if you’re truly looking to get invested, have a look at the Flexipass offerings. These work out cost effective, especially if you’re sharing them with another person and PARTICULARLY if you’re under 24. Sans passes, adult tickets are $26 per film, so doesn’t work out much differently to a standard full-price cinema outing.
In this very special SWC edition, I’ll be reviewing the 6 films I saw. This is special because none of them are available for you to watch, and the majority don’t even have release dates. Totally understand that’s kind of annoying, which is why I have offered you the above tips so that you never make this mistake again. Join me, ahead of the curve.
On Swift Horses (2024)
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My reason for picking this film was knowing that it stars Daisy-Edgar Jones, Jacob Elordi and Will Poulter. Immediately sold. Set in the 1950s and dealing with lesbian and gay self-discovery in an era of repression. Jones stars as Poulter’s newlywed, who together begin a new life in California. In secret, she begins a sapphic affair and starts betting on horse racing using tips she learns from patrons at her waitressing job. Over in Las Vegas, her flighty brother-in-law, played by Elordi begins a relationship with a man and together they start a con at casinos across the city. I enjoyed how both characters interactions with gambling reflected their propensity for risk in their sexuality and affairs. It was a very human film centred on queer romance, excellently acted and an interesting period drama. I gave it 3.5 stars, and I’d recommend if you’re a fan of the actors but wouldn’t rush you out of the house to see it.
The Mastermind (2025)
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I chose this one because it premiered at Cannes and stars Josh O’Connor and Alana Haim. The plot was also very intriguing - a 1970s small-town art heist. I adore modern films set at this time (I haven’t quite figured out why), but the aesthetic and styling of this was lovely. The film quickly turns the heist genre on its head, revealing that there are no masterminds here, as our protagonist's life unravels around him. It is this clever turn that allowed The Mastermind to grow on me in the days after seeing it. Using an exciting jazz score and heist tropes, to subvert expectations and create an interesting character story, with the American 70s cultural zeitgeist as the backdrop. I gave this 4 stars, and would recommend to fans of the slow (sometimes unlikeable) character exploration.
Late Shift (2025)
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I chose Late Shift because I read the plot and thought “that’s a bit of me”, basically because I love medical dramas, as you all know. Said plot, is following a nurse over one shift in an understaffed surgical ward. I was locked in immediately. This is a Swiss-German film, which was great too because I do like picking a couple of foreign language entries. Late Shift is one of those films that makes you feel so anxious, its just 90 minutes of a nurse being pulled every which way and never being able to finish tasks she needs to and her patients always needing something else, with varying degrees of politeness. The end cards highlight the global health crisis of our nurse shortages, an important message that is brought to life by a well-acted film. I gave this one 4 stars, and would recommend it to fans of high-stress in normal life type stories - or medical dramas.
The Life of Chuck (2025)
In Cinemas 14 August
I picked this one out because the narrative structure was very interesting, and it had a 3.7 on Letterboxd. Told in reverse chronological order across three acts, and starting with the end of the world. A middle school teacher and a nurse observe global panic, natural disasters and the internet shutting down as the world around them tries to make sense of the imminent end. Its best to go in mostly blind from here, but the steps backward in act 2 and act 1 tell a story of one man and the formative moments in his life. It is one of those stories that could be overly saccharine, but it really landed for me and made me cry for a lot as I realised what was happening. A very tender and life affirming story. It earned 4.5 stars from me, and I’d recommend it to those of you who love some slightly earnest, feel-good existentialism.
Sorry, Baby (2025)
In Cinemas 4 September
Similarly, Sorry, Baby had very strong critical reviews from its premiere at Sundance, and a 4.0 on Letterboxd. Plus, I tend to give anything A24 a glance. This film presents an insanely accomplished debut by Eva Victor, who directed, wrote and starred. Interestingly also with a non-linear narrative, we meet Agnes who is dealing with the ongoing ramifications of a sexual assault. I note that because it may be important for you to know that that is the subject matter. What Victor has created though is a beautiful, quiet and nuanced reflection on how we cope. Pitch perfect tone, interesting structure, and stunningly crafted with shots that felt like seeing your own breath collide with the cold air. I’ve never seen such an excellent depiction of what it is to feel stagnant, listless, stuck, whilst life and people move on around you. If you hadn’t guessed, this was 5 stars for me and I’d recommend it to just about anyone.
It Was Just An Accident (2025)
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I picked this one because it won the Palme d’Or at Cannes. My final night of the festival was perfectly chosen, because this won Sydney’s major prize as well. Director Jafar Panahi is an Iranian activist and filmmaker who has been imprisoned for his work, much of which has been made illegally and banned in Iran due its criticism of the Iranian regime. It Was Just An Accident is his first film since being released from prison, also made illegally, and features lead actresses not observing hijab law. All of this to say, this is a courageous and timely film, with an important story tell. In it, five Iranians are thrown together and forced to reckon with their past with the man they believe tortured them in jail. The story is a rollercoaster, starting with beats of a comedy road-movie and mistaken identity hijinks, which peel away to reveal a true and dreadful reckoning. I gave this 4.5 stars and would recommend to everyone.
Here’s to 39 great years,
Linley x
