I Write I Direct https://validator.w3.org/feed/docs/rss2.html Why the ‘Australian hunk’ is at the heart of a new boom in romance films IF Rising Talent 2026: Directors ‘The Survivors’ again leads local Netflix titles in latest engagement report And the award goes to … why Australia’s film gongs are on the nose The Greenlight Doesn’t Decide Films Anymore ‘It’s local audiences first’: Australia’s new Netflix content boss unveils vision for the streamer Why one of Australia’s most successful TV production companies is being shut down Australian box office set to pass A$1bn in 2025 for the first time since 2019 Aussie post-production house Cutting Edge goes into liquidation after 27 years What’s shooting right now in Australia? IF’s In Production wrap – January 2026 Zara Symes’ ‘A to Z’ given new life after being included on the Athena List in New York Screen Producers Australia calls for int’l copro treaties to undergo urgent reforms In conversation: Pippa Harris and Liza Marshall on producing ‘Hamnet’, why film industry “is in a strange place” Matchbox Pictures to close after 18 years How to make an Australian crime series Screen Australia reflects on 10 years of the Gender Matters KPI with ‘steady and consistent’ 2024/25 update If there is an eternity, I will be looking for you throughout it Natalie Erika James’ ‘Saccharine’ set for Berlinale Australian film needs more private investment: Deanne Weir experiments with radical transparency Nine talking points from Series Mania 2025: “The scripted TV market is not going down any further” Joel Pearlman: Backing Australian Film How War Machine flopped at box office and made big money for producers ‘Adolescence’ director Philip Barantini on one-take filming, finding Owen Cooper and screening in schools ‘Ultimately, everyone is working towards the same goal’: Netflix, Stan, and Prime Video on telling local stories in 2025 THE CREATORS PARTICIPANTS ANNOUNCED So You’re Going to Cannes. A Survival Guide for First-Timers: From Someone Who Showed Up With a Horror Film and Lived to Tell the Tale Going to Cannes? Is a Deal With the DGA the Key To Ending the Writers Strike? <br>‘Shayda’ director on producing her debut feature: “I needed to be at that table” Australia’s Troy Lum on his distribution and production businesses: “Supporting creativity is my aim” Australian Film Institute posts $6m revenue as funding soars ‘Patriarchy has no gender. It doesn’t break down like that’: film-maker Nina Menkes dissects the male gaze Opinion: In Australia, we have already gone from ‘mini-rooms’ to ‘micro-rooms’  Darren Ashton elected ADG president as guild reaches ‘difficult point’ amid financial struggles AACTA confirms dates for 2024 awards, announces five-day festival of events Stan greenlights new dramas ‘Invisible Boys’, ‘Exposure’, ‘Thou Shalt Not Steal’ John Collee talks ‘Boy Swallows Universe’ and mentoring emerging writers Rhiannon Fish, James O’Halloran bounce into Brisbane for Jo-Anne Brechin’s ‘When Love Springs’ BO Report: ‘Seriously Red’ has slowish start, ‘The Menu’ is served, ‘Strange World’ disappoints The Newsreader – Creator Michael Lucas talks ambiguity, archives and the 80s One of Australia’s biggest TV producers is predicting a talent crisis Casting Guild unveils 2022 Rising Stars ‘Shayda’: Sundance Review Noora Niasari’s ‘Shayda’ impresses at Sundance ‘If I Went Back to Iran Today, I’d Be in Prison’: Why Noora Niasari’s ‘Shayda’ Is a ‘Drop in an Ocean of Change’ 2022 AWGIE AWARDS Melissa Black is writing a new direction Cecil Holmes Award Speech by Samantha Lang – ADG Awards 8 December 2022 Nine Australian screenwriters selected for Impact Australia Sean Baker calls for higher upfront fees as ’Anora’ triumphs at 2025 Spirit Awards