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features
Archive
Poem: Pirates
Adelaide Film Festival review: Dolphin Man
Adelaide Film Festival review: Loving Vincent
Adelaide Film Festival review: Sweet Country
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Adelaide Film Festival review: F*!#ing Adelaide
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Adelaide Film Festival review: Cargo
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OzAsia review: Rising
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From dot painting to a desert darkroom
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‘It’s not easy being a chook fancier’
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OzAsia review: In Between Two
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After the Apology is vital viewing
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Film review: Blade Runner 2049
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Adelaide Film Festival sets sail for the Port
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OzAsia review: The Dark Inn
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OzAsia review: Vocaloid opera The End
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Faces Places is a joyous road trip
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Faces Places is a joyous road trip
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Poem: Reflections
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First Nations in focus at Adelaide Film Festival
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OzAsia review: Scary Beauty
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OzAsia review: Hotel
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OzAsia review: Regurgitator, Seja & Mindy Meng Wang
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How Tony Abbott triggered his first No. 1 hit
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Film review: The Battle of the Sexes
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Film review: The Dancer
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Tommy Emmanuel to open 2018 Adelaide Guitar Festival
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OzAsia review: Hot Brown Honey
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Poem: Poplars
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Film review: Mountain
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Roll up to Adelaide’s digital carnival
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OzAsia review: Until the Lions
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OzAsia film review: A Yellow Bird
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Film review: Kingsman 2: The Golden Circle
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Adelaide as an instrument
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Poems: Such is life …
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Australia’s ‘big’ problem – what to do with our ageing super-sized statues?
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OzAsia film review: The Villainess
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OzAsia film review: Apprentice
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Film review: Patti Cake$
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What’s on: Art, laughs and live music
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Film review: Victoria and Abdul
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Poem: Red River Gum
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Film review: The Dinner
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Daughters re-create life on stage
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Grief, loss and a glimmer of hope: the 2017 Miles Franklin winner
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Outback western Sweet Country wins over Venice
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Theatre review: Dracula
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This Woman is Not a Car: feminist funk art of the Holden era
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