In commemoration of the late Toni Morrison, MIFF is proud to screen this candid new biodoc from award-winning filmmaker Timothy Greenfield-Sanders, direct from this year’s Sundance Film Festival.

Two frequently stoned buddies contend with, and try to cover up, the death of their bandmate in this uniquely weird, hilarious and poignant slice of Alabama wrongness from the co-director of Swiss Army Man.

“The Remix: Hip Hop x Fashion highlights the hidden female figures that have curated and shaped hip-hop’s dynamic streetwear and ultimately swayed the entire fashion industry.” – Vibe

Deadpan to its core, A Family is an offbeat comedy that takes us into the home of a lonely man who hires actors to play his parents, brother and sister.

“The glorious Aretha Franklin concert documentary Amazing Grace finally emerges 46 years later … an unmitigated joy.” – Los Angeles Times

Following the critically acclaimed Pawno, director Paul Ireland moves from Footscray to Prahran’s commission flats for this contemporary re-interpretation of Shakespeare, with Hugo Weaving leading a powerful, multicultural cast.

Girlhood director Céline Sciamma returns with this beautifully calibrated, incandescent romance between a painter and her subject, which took home both Best Screenplay and the Queer Palm at this year’s Cannes.

Eight female directors from eight separate Pacific Island nations celebrate Indigenous resilience and creativity through the life of one extraordinary woman.

"A rare window into a woman's experience of the Syrian conflict … Simple in concept and shattering in execution, blending hard-headed reportage with unguarded personal testimony, it’s you-are-there cinema of the most literal order." – Variety

Four years after Gayby Baby (MIFF 2015), Maya Newell crafts another powerful, essential portrait of Australian youth, putting the plight of the Northern Territory’s Indigenous children in the spotlight.

From Marcus Cobbledick, co-director of the MIFF 2017 Audience Award-winning documentary All For One, and Josh Cable comes this insightful, intimate look at Collingwood Football Club as it rebuilds itself and aims for glory over the course of the 2018 season.

For years, Adam Goodes was a beloved hero of the game of AFL. Then the two-time Brownlow Medallist and former Australian of the Year began to call out racism, and his Australian dream turned into a nightmare.

For years, Adam Goodes was a beloved hero of the game of AFL. Then the two-time Brownlow Medallist and former Australian of the Year began to call out racism, and his Australian dream turned into a nightmare.

Journey back to the halcyon daze of the UK’s 90s rave scene with this nostalgic coming-of-age tale, executive produced by Steven Soderbergh and set to the most electrifying sounds of the Trainspotting era.

Oscar winner Lupita Nyong'o shines bright as a ukulele-playing, zombie-slaying kindergarten teacher in Abe Forsythe’s sweetly hilarious zom-com Little Monsters.

“Jesse Eisenberg plays a wimp whose desperate bid to man up compels him to join an off-kilter karate studio in this smart, machismo-critiquing cult comedy … dark, sinister, and disarmingly hilarious.” – Variety

In her late forties, Morgana Muses was an unhappy housewife in Albury. By 50, she was a feminist pornography icon. It has been quite the ride, with Melbourne filmmakers Isabel Peppard and Josie Hess journeying from rural Victoria to Berlin’s BDSM scene to tell this unique and empowering story.

The director of the acclaimed Black Coal, Thin Ice returns with his latest from Cannes competition, a densely layered neo-noir set in the Chinese underworld.

Mismatched travelling companions reveal long-held secrets, broken hearts and unexpected connections during an eye-opening drive to Melbourne in this understated drama – an independent debut feature from local director Adrian Ortega.

Once again filtering today’s bleak political reality through a scathingly satirical lens, provocateur Chris Morris (Four Lions, MIFF 2010) takes inspiration from a hundred true stories with this Anna Kendrick-starring counterterrorism farce.

A dual award winner at the 2018 Venice Film Festival, Jennifer Kent’s follow-up to The Babadook pulls no punches in its brutal depiction of life in colonial Tasmania – especially for women and Indigenous Australians.

After the otherworldly allure of MIFF 2016’s Kaili Blues, poet turned filmmaker Bi Gan returns with another entrancing visit to China’s Guizhou province – as constructed around an astonishing 55-minute single take in mesmerising 3D.