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The article analyze horror film "The Howling III: The Marsupials" directed by Philippe Mora. Topics include examines that film is a critical Pandora's box when it comes to a range of questions that culminate at the intersection of cult-film research, taste, national cinema and screen studies more broadly; and reports that it is a dynamic of attraction and repulsion at work in the film, which knowingly pulls these broader tropes inwards towards itself while.

The article reports on the motion picture industry in Australia as of 2018. Particular focus is given to discrimination in cinema and to how the majority of film's in the nation have been made by white, heterosexual men. Additional topics discussed include how only 16 percent of Australian feature films and documentaries were directed by women in 2015, the establishment of the Indigenous Unit at the Australian Film Commission in 1993, and a look at female Australian filmmakers including Gillian Armstrong, Mary Callaghan and Sue Maslin.

The article explores the horror film genre making in Australian in the 1980s. It cites the presence of subjective retelling of the Australian film history in an attempt to rewrite Ozploitation cinema back into the broader narrative of the genre. It also notes the pursuance of ghost stories to provide the basis for some of the best the local genre has offered in the past few years in the country.

The article discusses the excessive absence of Australian paracinema to Ozploitation films such as "Harlequin" or "Dark Forces." It states that the excessive absence of national identity and politics configuration and diegetic and non-diegetic manifestation in Ozploitation are exhibited in "Harlequin." It notes that the horror films "Night of Fear" and "Patrick" were created with an excessive absence of sound. Australian paracinema-related works and the plot of "Harlequin" are cited.