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Faraway Downs was always going to be a strange beast, but in teasing out the most compelling threads from the tangle that was Australia, Luhrmann has managed to turn a forgettable film into a flawed but dazzling piece of television.

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Surprisingly good. Shockingly good, even. Life-affirming and joyful without ever being twee, cutting and satirical without ever being cruel—if there was ever a worthy successor to Guffman, Best in Show, and A Mighty Wind, then Theater Camp is it.

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With Soderbergh-like steeliness, this quietly captivating thought-provoker renders an uncomfortable idea—an opt-in euthanasia program for the elderly in a strained, super-aged society—into believable banality. Its grimly fascinating details are second to the film’s sobering sense of humanity, the kind we risk losing when the economy takes top priority.

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Quietly riveting and deeply upsetting, Jamie Dack’s directorial debut goes to far darker places than most would dare, with an unsparing, chillingly realistic approach. Neither sexually explicit nor graphically violent, Palm Trees and Power Lines depicts a banal and somehow more brutal horror; the final moments took my breath away.

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Judy Blume’s story of girlhood and growing up is a classic for a reason, and this heartwarming adaptation a crowdpleaser. Abby Ryder Fortson as the titular Margaret is wonderful, bringing all the agony and joy of tweendom to life with earnestness and authenticity. 

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Good grief, it seems that once in a blue moon they do make them like they used to. With a touch of the Kelly Reichardt school of slow burning, gentle dread mixed with eye-popping landscape capturing, this is one we’ll be raving about annoyingly for years.

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