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Every movie buff appreciates a cinematic list. The arrival of vast information on a subject we love so dearly will always be welcomed with open arms. And what better than the esteemed list of all-time greatest films? Whether it’s a monumental effort like Empire’s The 500 Greatest Movies of All Time, or the country-specific AFI list of 100 Greatest American Films, there’s no denying the lasting appeal and insight a list can offer to reminiscence about old favourites and to put us on our way for new discoveries. After all, they’re usually spot on, having polled critics, filmmakers, and a devoted public who know exactly what makes a motion picture entertaining, important and timeless.

The problem is, of course, that after so many years, we’re used to reading the same old lists over and over again – how many times have we been told that The Godfather or...

Everyone’s going to Adelaide this week, to be at the country’s most risk-taking festival. Encore spoke with festival director Katrina Sedgwick and associate director Adele Hann about the secrets behind its success.

The first point of differenceis the festival’s Investment Fund, which has delivered some of Australia’s most acclaimed films of recent times, including 2009’s Samson & Delilah. The pressure to continue this high level of performance from its slate hasn’t seen the funded projects become safe, predictable choices. It’s been quite the opposite.

“The Investment Fund has meant that Australian cinema is put to the forefront. Over time the success of the slate has generated anticipation; it’s become the element of the program that people really look forward to, the one that sells out first and excites the industry. One of the great things festival director Katrina Sedgwick does with that money is...

When I first set out to do a retrospective series on some of my favorite films, I wanted to make sure I hit all genres, not just horror, which is my favorite. Also, getting an interview to go with the column has always been icing on the cake, but if I am not able to get one for a particular movie, it will never stop me from giving it some love. The kind of films that fueled Rhonda Shear’s USA Up All Night were sex-comedies, and the number of them that have never received a DVD release are staggering.

In my past life, one of the many perks of being employed at a video store were the screeners that you were able to keep. I was in nerd heaven when I worked at a location that was adjacent to the district office where hundreds of movies arrived for the taking.