
The adaptation pipeline from page to screen is the steadiest production line in Australian cinema, and the question is whether the films are earning the books or borrowing from them.

Peter Raeburn scored the sequel wetter, colder, and more anxious, and the alpine setting gave him room to breathe.

Robert Connolly's sequel to The Dry is looser, colder, and more confident about what kind of film it wants to be.

Nitram won seven AACTAs and The Dry won Best Film, and the combined domestic box office of the two was still less than one weekend of a Marvel sequel.

Robert Connolly's adaptation knows the difference between withholding information and withholding feeling.

The year gave us a portrait of a mass killer, a drought-country thriller, a sheep-farming feud, and a lucid day with a grandmother, and all four will last.

Four of the year's most significant Australian films dealt in violence, guilt, grief, and landscape, and the domestic audience chose to watch something else.

The score is a heatwave set to strings: dry, persistent, and impossible to escape.

The dry country is not a backdrop; it is a condition, and Australian film returns to it the way a tongue returns to a broken tooth.

The pipeline froze in 2020, but the films that waited are beginning to move, and several of them are worth the delay.