World Poll 2022 – Part 4 the editors January 2023 World Poll Issue 104 ENTRIES IN PART 4: Dr Lisa Harper Campbell Craig Harshaw Michael Heath Alain Hertay David Heslin Lee HillKierran Horner Christoph Huber Robert Hughes Darik Janik Tara Judah Dr Lisa Harper Campbell Independent screen scholar & critic, author of Reframing remembrance: Contemporary French Cinema and the Second World War All lists presented in alphabetical order I) Films released in 2022 Athena (Romain Gavras) The Batman (Matt Reeves) Everything Everywhere All At Once (Daniel Kwan, Daniel Scheinert) Glass Onion (Rian Johnson) The Good Nurse (Tobias Lindholm) Prey (Dan Trachtenberg) Scream (Matt Bettinelli-Olpin, Tyler Gillett) Turning Red (Domee Shi) II) Older films but first seen in 2022 Barton Fink (Ethan Coen, Joel Coen, 1991) La Belle Époque (Nicolas Bedos, 2019) Ghostbusters: Afterlife (Jason Reitman, 2021) The Hand of God (Paolo Sorrentino, 2021) Mass (Fran Kranz, 2021) Paddington 2 (Paul King, 2017) Pet Sematary (Mary Lambert, 1989) Ratatouille (Brad Bird, 2007) III) Online/hybrid engagement in 2022 Time that may have been spent researching and then attending online events have instead been taking up with consuming brilliant television content. The longer-form storytelling has once again outrun cinematic engagement for me this year. Below are some of the highlights, again listed in alphabetical order. Andor (Disney+) Beforeigners (SBS on Demand) The Good Fight (SBS on Demand) Pachinko (Apple TV+) The Pentaverate (Netflix) Physical (Apple TV+) This England (Binge) White Lotus (Binge) Craig Harshaw Cinephile, Cultural Critic, Artist, Broadcaster and Educator living in Chicago, IL USA. 25 Favorite New Films Viewed in 2022. After Yang (Kogonada, 2021) Aftersun (Charlotte Wells, 2022) As bestas (The Beasts, Rodrigo Sorogoyen, 2022) Ryû to sobakasu no hime (Belle: The Dragon and the Freckled Princess, Mamoru Hosoda, 2021) Bones and All (Luca Guadagnino, 2022) Avec amour et acharnement (Both Sides of the Blade, Claire Denis, 2022) Crimes of the Future (David Cronenberg, 2022) Heojil kyolshim (Decision to Leave, Park Chan-Wook, 2022) El perro que no calla (The Dog Who Wouldn’t Be Quiet, Ana Katz, 2021) Everything Everywhere All At Once (Dan Kwan, Daniel Scheinert, 2022) Das Mädchen und die Spinne (The Girl and The Spider, Ramon Zürcher, Silvan Zürcher, 2021) Inteurodeoksyeon (Introduction, Hong Sang-Soo, 2021) Isabella (Matías Piñeiro, 2020) Në kërkim të Venerës (Looking for Venera, Norika Sefa, 2021) The Lost Daughter (Maggie Gyllenhaal, 2021) Memoria (Apichatpong Weerasethakul, 2021) So-seol-ga-ui yeong-hwa (The Novelist’s Film, Hong Sang-Soo, 2022) Un beau matin (One Fine Morning, Mia Hansen-Love, 2022) A Nuvem Rosa (The Pink Cloud, Iuli Gerbase, 2021) Qala (Anvita Dutt, 2022) Saloum (Jean Luc Herbulot, 2021) Saint Omer (Alice Diop, 2022) Sundown (Michel Franco, 2021) Three Minutes: A Lengthening (Bianca Stigter, 2021) Vortex (Gaspar Noe, 2021) Qala 25 Additional Terrific New Films Viewed in 2022. Athena (Romain Gavras, 2022) The Banshees of Inisherin (Martin McDonagh, 2022) Barbarian (Zach Cregger, 2022) Beurokeo (Broker, Hirokazu Koreeda, 2022) Clara Sola (Nathalie Álvarez Mesén, 2021) EO (Jerzy Skolimowski, 2022) The Eternal Daughter (Joanna Hogg, 2022) The Fabelmans (Steven Spielberg, 2022) Kimi (Steven Soderbergh, 2022) Knackningar (Knocking, Frida Kempff, 2021) Medusa (Anita Rocha da Silveira, 2021) Nanny (Nikyatu Jusu, 2022) A Night of Knowing Nothing (Payal Kapadia, 2021) Khers nist (No Bears, Jafar Panahi, 2022) Nope (Jordon Peele, 2022) Pearl (Ti West, 2022) Vidblysk (Reflection, Valentyn Vasyanovych, 2021) R.M.N. (Cristian Mungiu, 2022) She Will (Charlotte Colbert, 2021) Bashtaalak sa’at (Shall I Compare You to a Summer’s Day?, Mohammad Shawky Hassan, 2022) Strawberry Mansion (Kentucker Audley, Albert Birney, 2021) Seperti dendam, rindu harus dibayar tuntas (Vengeance is Mine, All Others Pay Cash, Edwin, 2021) We’re All Going to the World’s Fair (Jane Schoenbrun, 2021) Women Talking (Sarah Polley, 2022) Wood and Water (Jonas Bak, 2021) Special Mentions- additional impressive new films watched in 2022. The Actress (Andrew Ondrejcak, 2021) Alcarràs (Carla Simón, 2022) Tian xia wu ya (All the Crows in the World, Yi Tang, 2021) The Apology (Alison Locke, 2022) Argentina, 1985 (Santiago Mitre, 2022) The Black Phone (Scott Derrickson, 2021) Black Medusa (Youssef Chebbi, Ismaël, 2021) Black Narcissus (Passion of the Swamp) (Peter Strickland, 2022) Le bleu du caftan (The Blue Chaftan, Maryam Touzani, 2022) Bodies Bodies Bodies (Halina Reijn, 2022) Kurak Günler (Burning Days, Emin Alper, 2022) Cane Fire (Anthony Banua-Simon, 2020) The Cathederal (Ricky D’Ambrose, 2021) Close (Lukas Dhont, 2022) Clytaemnestra (Ougie Pak, 2021) Occhiali neri (Dark Glasses, Dario Argento, 2022) Les démons de Dorothy (The Demons of Dorothy, Alexis Langlois, 2021) Don’t Worry Darling (Olivia Wilde, 2022) The Earth is Blue As an Orange (Iryna Tsilyk, 2020) Earwing (Lucile Hadzihalilovic, 2021) Elesin Oba: The King’s Horseman (Biyi Bandele, 2022) E-pis-to-lar-y Letter to Jean Vigo (Lynne Sachs, 2021) Everything is Cinema (Don Palathara, 2021) Fabian oder Der Gang vor die Hunde (Fabian Going to the Dogs, Dominik Graf, 2021) Fairy Folk (Karan Gour, 2022) Good Luck To You, Leo Grande (Sophie Hyde, 2022) The Good Nurse (Tobias Lindholm, 2022) Halloween Ends (David Gordon Green, 2022) L’événement (Happening, Audrey Diwan, 2021) Il Buco (The Hole, Michelangelo Frammartino, 2021) Holy Emy (Araceli Lemos, 2021) Hotele Lerallaneng (Hotel On the Koppies, Charlie Vundla, 2021) Intregalde (Radu Muntean, 2021) Ah Gözel Istanbul (Invisible To The Eye, Zeynep Dadak, 2020) It Is In Us All (Antonia Campbell-Hughes, 2022) King Car (Renata Pinheiro, 2021) Luxembourg, Luxembourg (Antonio Lukich, 2022) O Marinheiro das Montanhas (Mariner of the Mountains, Karim Aïnouz, 2021) Marx può aspettare (Marx Can Wait, Marco Bellocchio, 2021) Mad God (Phil Tippett, 2021) Master (Mariama Diallo, 2022) Herr Bachmann und seine Klasse (Mr. Bachman and His Class, Maria Speth, 2021) Murina (Antoneta Alamat Kusijanovic, 2022) My Policeman (Michael Grandage, 2022) The Northman (Robert Eggers, 2022) Penyalin Cahaya (Photocopier, Wregas Bhanuteja, 2021) RRR (Rise Roar Revolt)( S.S. Rajamouli, 2022) Resurrection (Andrew Semans, 2022) Sardar Udham (Shoojit Sircar, 2021) Lan xin da ju yuan (Saturday Fiction, Lou Ye, 2020) Scream (Matt Bettinelli-Olpin and Tyler Gillett, 2022) Sick (John Hyams, 2022) A So Called Archive (Onyeka Igwe, 2020) The Souvenir: Part II (Johanna Hogg, 2021) Spontaneous (Lori Felker, 2020) Stars at Noon (Claire Denis, 2022) Walk With Me (Isabel del Rosal, 2021) Warsha (Dania Bdeir, 2022) Le lycéen (Winter Boy, Christophe Honoré, 2022) X (Ti West, 2022) Rien à foutre (Zero Fucks Given, Julie Lecoustre, Emmanuel Marre, 2021) Zeroes and Ones (Abel Ferrara, 2021) Twenty Five Favorite Older Films Watched For the First Time in 2022 The Attendant (Isaac Julien, 1993) L’armée des ombres (Army of Shadows, 1969) The Artist’s Wife (Tom Dolby, 2019) Broken English (Zoe Cassavettes, 2007) The Butterfly Effect (Eric Bress, J. Mackye Gruber, 2004) Calcutta (Louis Malle, 1969) Daisy Miller (Peter Bogdanovich, 1974) The Dark Corner (Harry Hathaway, 1946) Dream Demon (Harvey Cokeliss, 1988) Al-makhdu’un (The Dupes, Tewfik Saleh, 1972) Duvidha (Mani Kaul, 1973) India Song (Marguerite Duras, 1975) Kanko no machi (Jubilation Street, Keisuke Kinoshita, 1944) The King of Marvin Gardens (Bob Rafelson, 1972) Limitie (Mario Peixoto, 1931) La gueule ouverte (The Mouth Agape, Maurice Pialat, 1974) Yim ji kau (Rouge, Stanley Kwan, 1987) Sambizanga (Sarah Maldoror, 1972) Slither (Howard Zieff, 1973) Lotte in Italia (Struggle in Italy, Groupe Dziga Vertov, 1971) Trzecia czesc nocy (The Third Part of the Night, Andrzej Zulawski, 1971) Tatlong taong walang Diyos (Three Years Without God, Mario O’Hara, 1976) Trouble Every Day (Claire Denis, 2001) Trouble in Paradise (Ernst Lubitsch, 1932) Young and Innocent (Alfred Hitchcock, 1937) Michael Heath Screenwriter, documentary and independent film-maker and cinephile, Raumati South, New Zealand The favourites… Beurokeo (Broker, Hirokazu Koreeda, 2022) Khers nist (No Bears, Jafar Panahi, 2022) Retour à Séoul (Return to Seoul, Davy Chou, 2022) Kummatty (Govindan Aravindan, 1979) Red Rocket (Sean Baker, 2021) Take Out (Shih-Ching Tsou, Sean Baker, 2004) Nope (Jordan Peele, 2022) RRR (S.S.Rajamouli, 2022) Faya Dayi (Jessica Bashir, 2021) The Novelist’s Film (Hong Sang-soo, 2022) Introduction (Hong Sang-soo, 2021) In front of Your Face (Hong Sang-soo, 2021) Jang-e jahani sevom (World War III, Houman Seyyedi, 2022) Cinema of Discovery: Julien Duvivier in the 1920s (Julien Duvivier, 2022) Diários de Otsoga (The Tsugua Diaries, Maureen Fazendeiro, Miguel Gomes, 2021) Glimpses of masterpieces from the past…. Rakuyôju (Tree Without Leaves, Kaneto Shindo, 1986) Le Diable Souffle (Woman of Evil, Edmond T. Gréville, 1947) L’Enfer des Anges (Angels in Hell, Christian-Jaque, 1941) Destiny (Julien Duvivier, Reginald Le Borg, 1944) Le Rideau Cramoisi (The Crimson Curtain, Alexandre Astruc, 1953) Joi No Kiroku (Record of a Woman Doctor, Hiroshi Shimizu, 1941) Obrazy starého sveta (Pictures of the Old World, Dušan Hanák, 1972) Daisatsujin Oroch (The Betrayal, Tanaka Takuzo, 1966) Muhoumatsu no Issho (The Life of Matsu the Untamed, Inagaki Hiroshi, 1943) Kini to Wakarete (Apart from You, Naruse Mikio, 1933) Love Affair (Leo McCarey, 1939) Very guilty streaming home-viewing pleasures: A Friend of the Family (Peacock) The Watcher (Netflix) Inside Man (Netflix) I Came By (Netflix) Help (Ch4) Landscapers (HBO) ….and two short films: Hreiður (Nest, Hlynur Pálmason, 2022) and Los Huesos (The Bones, Cristobal León, Joaquín Cociña, 2021) Faya Dayi Alain Hertay Alain Hertay teaches cinema studies at the Haute Ecole de la Province de Liège, Belgium. Contributor to La Furia Umana, Culturopoing, POPNews and Flashback Magazine. 10 favourite new release films from 2022 Les Années Super 8 (The Super 8 Years, Annie Ernaux, David Ernaux-Briot, 2022) Apollo 10½: A Space Age Childhood (Richard Linklater, 2022) EO (Jerzy Skolimowski, 2022) L’innocent (The Innocent, Louis Garrel, 2022) Les enfants des autres (Other People’s Children, Rebecca Zlotowski, 2022) Les Passagers de la nuit (The Passengers of the Night, Mikhaël Hers, 2022) La place d’une autre (Secret Name, Aurélia Georges, 2022) Top Gun: Maverick (Joseph Kosinski, 2022) The Viewing (Panos Cosmatos, 2022) Windfall (Charlie McDowell, 2022) David Heslin David Heslin is the editor of Australia’s oldest quarterly film and TV publication, Metro. New films (screened theatrically or at festivals in 2022) Hytti nro 6 (Compartment No. 6, Juho Kuosmanen, 2021) The Plains (David Easteal, 2022) You Won’t Be Alone (Goran Stolevski, 2022) After Blue (Paradis sale) (After Blue, Bertrand Mandico, 2021) Bergman Island (Mia Hansen-Løve, 2021) The Souvenir Part II (Joanna Hogg, 2021) Moja Vesna (Sara Kern, 2022) Man on Earth (Amiel Courtin-Wilson, 2022) Earwig (Lucile Hadžihalilović, 2021) Flux Gourmet (Peter Strickland, 2022) After two years in which our industry suffered from pandemic-related lengthy delays, shutdowns and curtailed releases, 2022 was an exceptional year for Australian cinema, with highlights including You Won’t Be Alone and Moja Vesna, each highly accomplished debut features from Balkan-Australians (hailing from Macedonia and Slovenia, respectively); an intensely intimate and moving documentary about voluntary assisted dying, Man on Earth; and the brilliant, radically minimalist The Plains, a three-hour-long pseudo-documentary shot nearly entirely from the back seat of a car. Other notable locally produced features included Goran Stolevski’s Of an Age, Alena Lodkina’s Petrol and Armağan Ballantyne’s Nude Tuesday, while I look forward to catching up with Blaze (Del Kathryn Barton), The Stranger (Thomas M Wright), Nitram (Justin Kurzel) and Bassendream (Tim Barretto), among many others. Elsewhere, we were blessed with new features from five of the most interesting contemporary filmmakers working in France or the UK – Bertrand Mandico, Mia Hansen-Løve, Joanna Hogg, Lucile Hadžihalilović and Peter Strickland, all of whom are making work that is at once instantly recognisable as their own yet to varying degrees quite unlike anything else being produced by anyone else – and Juho Kuosmanen’s Compartment No. 6, a film whose rather more conventional framework offered some of the purest cinematic pleasures of the year. Best repertory screenings and retrospectives Pier Paolo Pasolini: When Cinema Met Poetry (Astor Theatre) Director in Focus: Lucile Hadžihalilović (Melbourne International Film Festival) Ghost Dance (Bulleke-Bek Brunswick Bootleg Cinema) Wildflowers: Dancing, Desire and Freedom in the Films of Gillian Armstrong (Melbourne Cinémathèque) Time in Summer (private screening, Adelaide) Reaching Beyond the Frame: The Poetic Cinema of Abbas Kiarostami (Melbourne Cinémathèque) Charlie Chaplin retrospective (Elsternwick Classic) Best DVD/Blu-ray releases Friends and Strangers (Grasshopper Film) Elle a passé tant d’heures sous les sunlights (Re:voir) Welcome to the Dollhouse (Radiance) The Worst Person in the World (Criterion) Lee Hill Lee Hill is the author of A Grand Guy: The Art and Life of Terry Southern. Top Ten Better Call Saul: Saul Gone (Peter Gould, 2022) Official Competition (Gastón Duprat, Mariano Cohn, 2022) Moonage Daydream (Brett Morgen, 2022) EO (Jerzy Skolimowski, 2022) Emily The Criminal (John Patton Ford, 2022) Les Pires (The Worst Ones, Lise Akoka, Romane Gueret, 2022) Aftersun (Charlotte Wells, 2022) Peter von Kant (François Ozon, 2022) Les damnés ne pleurent pas (The Damned Don’t Cry, Fyzal Boulifa, 2022) The Stranger (Thomas M. Wright, 2022) Runners Up: Madres Paralelas (Parallel Mothers, Pedro Almadovar, 2021), Les Olympiades, Paris 13e (Paris 13th District, Jacques Audiard, 2021), Les Passagers de la nuit (Passengers of the Night, Mikhaël Hers, 2022), Syk Pike (Sick of Myself, Kristoffer Borgli. 2022), Fragments of Paradise (K.D. Davison, 2022), The Origin (Andrew Cummings, 2022), L’Origine du Mal (The Origin of Evil, Sébastien Marnier, 2022), Blue Bag Life (Lisa Selby, 2022), The Blue Rose of Forgetfulness (Lewis Klahr, 2022), Sr. (Chris Smith, 2022), She Said (Maria Schrader, 2022), All The Beauty and the Bloodshed (Laura Poitras, 2022), Music, Money, Madness . . . Jimi Hendrix In Maui (John McDermott, 2020) and Triangle of Sadness (Ruben Östlund, 2022) The Far Side of Paradise: Nope (Jordan Peele, 2022), Don’t Worry Darling (Olivia Wilde, 2022), Women Talking (Sarah Polley, 2022), Blonde (Andrew Dominik, 2022), Irma Vep: Season One (Oliver Assayas, 2022) and Rifkin’s Festival (Woody Allen, 2020) The Day The Auteur Died: Crimes of The Future (David Cronenberg, 2022), The Whale (Darren Aronofsky, 2022), Empire of Light (Sam Mendes, 2022), The Eternal Daughter (Joanna Hogg, 2022), Bardo: False Chronicle of a Handful of Truths (Alejandro González Iñárritu, 2022) and White Noise (Noah Baumbach, 2022) DVD Reissues/Restorations/Directors Cuts: The Godfather (Francis Coppola, 1972), Terminal Man: Director’s Cut (Mike Hodges, 1973), Foolish Wives (Erich Von Stroheim, 1922), All That Money Can Buy (William Dieterele, 1941), The Driver (Walter Hill, 1978), The Draughtman’s Contract (Peter Greenaway, 1982) and Nil by Mouth (Gary Oldman, 1997) Readings: Everybody Thought We Were Crazy: Dennis Hopper, Brooke Hayward, and 1960s Los Angeles by Mark Rozzo, Cimino: The Deer Hunter, Heaven’s Gate and The Price of a Vision by Charles Elton, Hollywood: An Oral History eds. Jeanne Basinger and Sam Wasson and Cinema Speculation by Quentin Tarantino Notes: In 2022 a number of instagram friendly A-listers had little to say other than directing is tough. While this modest theme has been explored with wit and wisdom by Preston Sturges and Federico Fellini to Woody Allen and Bob Fosse in the not too distant past, there are one or two things about this point in the 21st Century that made 2022’s Big Statements seem a tad beside the point. Still, whoever cut the “I Am The Walrus” themed trailer for Bardo should be given a decent development deal at Apple or Amazon Prime. Attention must be paid. The Draughtman’s Contract Kierran Horner Kierran Horner is a film scholar and writer based in London. Six Released this year: Fresh (Mimi Cave, 2022) Cave’s film is an effective genre piece and commentary on the commodification of the titular flesh in modern dating but, more specifically, is a feminist critique of the exploitation of women’s bodies. Selini, 66 erotiseis (Moon, 66 Questions, Jacqueline Lentzou, 2021) Lentzou presents the minutiae of the father-daughter relationship with a precision that is quite devastating, although the film ends with a note of hope. Große Freiheit (Great Freedom, Sebastian Meise, 2021) Franz Rogowski’s sinuous central play anchors Meise’s enigmatic and elliptical love story with an innate trauma. Wet Sand (Elene Naveriani, 2021) Celebrating difference in the face of bigotry, Naveriani’s beautifully esoteric film doesn’t flinch from the tragic outcomes of these cultural clashes, but offers an optimism for its protagonists’ future. L’événement (Happening, Audrey Diwan, 2021) Diwan’s camera tautly frames Anamaria Vartolomei’s haunted performance of a young woman’s harrowing tale of ethical turmoil and fidelity to herself. She Will (Charlotte Colbert, 2021) Losing neither the bite of its tart feminist revenge fable nor the psychological uncanniness of its folk horror surrounds in blending the two, Colbert’s debut offers unsettling images of both. Six Seen for the first time in the last year: The Juniper Tree (Nietzchka Keene, 1990) Its compact length belies the languid, beautiful cinematography, the anti-patriarchal edge and the sense of dread that permeates into Keene’s film. Arrows (Sandra Lahire, 1984) Lahire’s personal exploration of cultural and societal impacts on the individual body, the match-edits between original and found footage draw painful correlations between them in the director’s examination of her own anorexia and patriarchal definitions of illness. Prefab Story (Věra Chytilová, 1979) Full of Chytilová’s signature acerbis, black wit, aimed here at failed structures of community-living and their impact on the women who attempt to maintain their families within them. Voskhozhdeniye (The Ascent, Larisa Shepitko, 1977) Affecting images that resonate along with Shepitko’s own tragic fate after the film’s release, speak to human vulnerability in the arena of war as characters make impossible decisions that will define them for as long as they live. Älskande par (Loving Couples, Mai Zetterling, 1964) The first in a procession of four films that confirm Zetterling as a foremost feminist filmmaker, Loving Couples is a subversive satire of established systems that seek to control women’s identities. Limete (Mário Peixoto, 1931) Peixoto’s restrictive setting allows the director space to investigate his trio’s pasts and he reveals a particular interest in the oppressive lives – remotely resonating with one another – that led the two women to their predicament, making Limete a proto-feminist, avant-garde essential. Christoph Huber Curator, Austrian Film Museum Eleven excellent entries Crimes of the Future (David Cronenberg, 2022) EO (Jerzy Skolimowski, 2022) Incroyable mais vrai (Incredible But True, Quentin Dupieux, 2022) Ju ji shou (Sniper, Zhang Yimou, Zhang Mo, 2022) Mad God (Phil Tippett, 2021) Occhiali neri (Dark Glasses, Dario Argento, 2022) San taam daai zin (Detective Vs. Sleuths, Wai Ka-fai, 2022) Skazka (Fairytale, Aleksandr Sokurov, 2022) Revolution der Augen (The Revolution of the Eyes, Friederike Pezold, 2022) Rimini (Ulrich Seidl, 2022) + Sparta (Ulrich Seidl, 2022) Mad God Mirror man The Fire Within: A Requiem for Katia and Maurice Krafft (Werner Herzog, 2022) + Theatre of Thought (Werner Herzog, 2022) Fumer fait tousser (Smoking Causes Coughing, Quentin Dupieux, 2022) Gwai tung nei jyu (Coffin Homes, Fruit Chan, 2021) Muppets Haunted Mansion (Kirk Thatcher, 2021) New York Ninja (John Liu, Kurtis M. Spieler, 1984/2021) No Sudden Move (Steven Soderbergh, 2021) Riget: Exodus (The Kingdom: Exodus, Lars von Trier, 2022) Three Thousand Years of Longing (George Miller, 2022) Unrecht und Widerstand + Der offene Blick (Peter Nestler, 2022) Watcher (Chloe Okuno, 2022) The treasure trove Échecs (Chess, Edmond Bernhard, 1972) + Lievde voor Hout (The Love for Wood, Jop Pannekoek, 1979) Picture Mommy Dead (Bert I. Gordon, 1966) + Djinn Director’s Cut (Tobe Hooper, 2013) Les galettes de Pont-Aven (Cookies, Joël Séria, 1975) + Pile ou face (Heads or Tails, Robert Enrico, 1980) Krokodil Gena (Gena the Crocodile, Roman Kachanov, 1969) + Shapoklyak (Roman Kachanov, 1971) Drive (Jack Deveau, 1974) + Barbara Broadcast (Radley Metzger, 1977) Talentprobe (Peter Goedel, 1980) + Das Treibhaus (Peter Goedel, 1987) Asparagus (Suzan Pitt, 1979) + Soleil (Pierre Clémenti, 1988) Rat Life and Diet in North America (Joyce Wieland, 1969) + The Far Shore (Joyce Wieland, 1976) Gli incubi di Dario Argento (Dario Argento et.al., 1987 – 1996) + Tripping the Dark Fantastic (Richard Stanley, 2015) Lust for Gold (S. Sylvan Simon, 1949) + The Scarlet Hour (Michael Curtiz, 1956) Symphonie (Soliloque) (Boris Lehman, 1979) + Bruxelles-Transit (Brussels Transit, Samy Szlingerbaum, 1981) The Intrusion (Zebedy Colt, 1975) + Water Power: The Ultimate Enema Cut (Shaun Costello, 1977) Abbruch und Aufbau. Eine Reportage vom Bauplatz (Wilfried Basse, 1932) + Appunti su un fatto di cronaca (Luchino Visconti, 1951) L’occhio selvaggio (The Wild Eye, Paolo Cavara, 1967) + Die Spalte (Gustav Ehmck, 1971) Chudesnyy kolodets (The Wondrous Well, Vladimir Degtyaryov, 1956) + Bremenskie muzykanty (The Bremen Town Musicians, Inessa Kovalevskaya, 1969) La fin du jour (The End of the Day, Julien Duvivier, 1939) + Take Off (Armand Weston, 1978) Corridor of Mirrors (Terence Young, 1948) + Wan mei jia qi 168 (Lock Me Up, Tie Him Down, Jeff Lau, 2014) Step by Step (Phil Rosen, 1946) + Chicago Syndicate (Fred F. Sears, 1955) Prämien auf den Tod (Curd Jürgens, 1950) + The Whistle at Eaton Falls (Robert Siodmak, 1951) En sommarsaga (Summer’s Tale, Arne Sucksdorff, 1943) + Pojken i trädet (The Boy in the Tree, Arne Sucksdorff, 1961) If You Stand with Your Back to the Slowing of the Speed of Light in Water (Julie Murray, 1997) + Rébus (François Vogel, 2007) La noche avanza (Night Falls, Roberto Gavaldón, 1952) + La polizia incrimina la legge assolve (High Crime, Enzo G. Castellari, 1973) Allons z’enfants (The Boy Soldier, Yves Boisset, 1986) + La travestie (Yves Boisset, 1988) City That Never Sleeps (John H. Auer, 1953) + Lyons, le regard interieur (Lyons Inside Out, Bertrand Tavernier, 1988) Visa de censure n°X (Pierre Clémenti, 1967/75) + Tautólogos plus X (Javier Aguirre, 1973) The Taking of Christina (Armand Weston, 1976) + Anna Obsessed (Martin & Martin, 1977) No abras nunca esa puerta (Never Open That Door, Carlos Hugo Christensen, 1952) + Il fascino dell’insolito: Vampirismus (Giulio Questi, 1982) Tabi (The Trip, Kawamoto Kihachiro, 1973) + Shijin no shôgai (A Poet’s Life, Kawamoto Kihachiro, 1974) Fung gip (The Secret, Ann Hui, 1979) + Ji dao zhui zong (Zodicac Killers, Ann Hui, 1991) Long-Haired Hare (Chuck Jones, 1949) + Thingu (Lee Hardcastle, 2012) Amico, stammi lontano almeno un palmo (Ben and Charlie, Michele Lupo, 1972) + Broken Trail (Walter Hill, 2006) Alois Gugutzer, Filmvorführer: “Das Zelluloid, das läßt einen nicht los.” (Peter Goedel, 1979) + Peter Przygodda, Schnittmeister (Peter Goedel, 1993) Miami Vice: The Home Invaders (Abel Ferrara, 1985) + Miami Vice: Baseballs of Death (Bill Duke, 1991) Der Neger Erwin (Herbert Achternbusch, 1981) + El aullido del diablo (Howl of the Devil, Paul Naschy, 1987) Dark Night of the Scarecrow (Frank De Felitta, 1981) + Night of the Scarecrow (Jeff Burr, 1995) La perle (The Pearl, Henri d’ Ursel, 1929) + Le Temps retrouvé, d’après l’œuvre de Marcel Proust (Time Regained, Raúl Ruiz, 1999) The Sitter (Fred Walton, 1977) + Alfred Hitchcock Presents: An Unlocked Window (Fred Walton, 1985) Kyôfu gekijô umbalance: Miira no koi (Horror Theatre Unbalance: A Mummy’s Love, Suzuki Seijun, 1973) + Chin Shun-shin no ‘Shinju no tsume’ (Chin Shun-shin’s ‘The Claws of the Divine Beast’, Suzuki Seijun, 1980) Histoire de détective (Charles Dekeukeleire, 1929) + Raising Cain “Director’s Cut” (Brian De Palma, 1992/2012) Feine Spielwaren – Made in USA (Günter Rätz, 1969) + New York, N.Y. (Raymond Depardon, 1986) Marisa la civetta (Mauro Bolognini, 1957) + Il silenzio è complicità (Laura Betti et.al, 1976) Adagio (Peter Schreiner, 1984) + Badeschluss (Peter Roehsler, 2014) Chuck Berry: Hail! Hail! Rock ‘n’ Roll (Taylor Hackford, 1987) + Zorn II (2016-18) (Mathieu Amalric, 2018) ABC Stage 67: Evening Primrose (Paul Bogart, 1966) + The Boy Who Turned Yellow (Michael Powell, 1972) You Are There: Cortes Conquers Mexico (Sidney Lumet, 1953) + Fort Couragous (Lesley Selander, 1965) The Spider Woman Strikes Back (Arthur Lubin, 1946) + M.D.C. – Maschera di cera (The Wax Mask, Sergio Stivaletti, 1997) “V” The Hot One (Gary Graver, 1978) + Belle de nature (Maria Beatty, 2009) Hanaori (The Breaking of Branches is Forbidden, Kawamoto Kihachiro, 1968) + Siah-o sefid (Black and White, Sohrab Shahid Saless, 1972) Al-tariq illa Filastin (The Road to Palestine, Layaly Badr, 1985) + Gens du lac (Jean-Marie Straub, 2018) Robert Hughes Assistant Curator, Australian Cinémathèque Ten films encountered for the first time in 2022 Gun Crazy (Joseph H Lewis, 1950) Kanał (Andrzej Wajda, 1957) O Bandido da Luz Vermelha (The Red Light Bandit, Rogério Sganzerla, 1968) Ty i ya (You and Me, Larisa Shepitko, 1971) Framed (Phil Karlson, 1975) Ai no korîda (In the Realm of the Senses, Nagisa Ōshima, 1976) Bei po (Soul Brothers of Kung Fu, Shan Hua, 1977) Napló gyermekeimnek (Diary for My Children, Márta Mészáros, 1984) Huang jia nu jiang (She Shoots Straight, Corey Yuen, 1990) Please Baby Please (Amanda Kramer, 2022) In no particular order, ten viewings from the past year that offered notable cinematic experiences. Soul Brothers of Kung Fu is a desperately sad entry in the beguiling Bruceploitation canon. It’s clear-eyed depictions of economic struggle and poverty are comparable to any of those contained in the classics of Italian neorealism, here supplemented by an unabating stream of scenes of people fighting. The film is engulfed in an oppressive atmosphere that persistently reinforces that our main characters will never escape the permeative corruption and cycles of violence that keep them toiling in debt. The various cuts and alternative endings of Soul Brothers of Kung Fu provide at least two indelible images: a Suspiria-esque view inside a man’s chest as his heart is punctured by our protagonist’s fingertips and, in the final moments of the so-called ‘sad’ alternative ending, one of cinema’s bleakest and most memorable invocations of the Pietà. Larisa Shepitko’s You and Me lingers in the shadow of the director’s two more famous works, Wings (1966) and The Ascent (1977). Rarely screened, we had the privilege of presenting the film on 35mm at the Australian Cinémathèque in July. The film’s quiet reputation can largely be attributed to its scant availability – it has not received a digital restoration, nor has it entered the catalogue of any boutique American distributors – as it is an achievement arguably greater than either of her more acclaimed titles. A portrait of urban ennui shot in garish Technicolor, You and Me reveals a freewheeling side to Shepitko’s filmmaking that she tragically never had a chance to further explore. Please Baby Please devised one of the year’s most remarkable and euphoric new screen worlds. Singular yet gleefully derivative; immersive yet forever displaying its seams. A bold rush. Please Baby Please She Shoots Straight is a staggering triumph of Hong Kong action cinema. It delivers an unbroken succession of pure visceral pleasures with creativity and élan, pausing only to put forward an unexpectedly moving sequence of family melodrama that elevates it again. Joyce Godenzi’s dexterous, determined lead performance should have made her an international star. A masterpiece of the ‘doomed odyssey’ subgenre, Kanał is an unbearably claustrophobic journey through the sewers of Warsaw. This sprawling labyrinth is the forum for a final, futile stand against the occupying German army. Amidst the filth and the fumes and the encroaching madness, perseverance becomes the means and the end. Diary for My Children is a lyrical intermingling of the haze of memory and the specifics of epochal history. Remembrances and realities lie on top of each other, linked by Márta Mészáros’s intricate collaging. A rare childhood tale that avoids sentimentality and acknowledges that some people may remain forever unknowable. The Red Light Bandit heaves with discontent. It castigates every level of contemporary Brazilian society in its politics while contemptuously rejecting the limitations of conventional film grammar in its form. Sganzerla’s feature debut careens off the screen in a frenzy, exposing its raw nerves and openly declaring its cynicism. Electrifying, heartening filmmaking. The final film from genre director Phil Karlson, Framed is a fittingly hard-nosed end to a career marked by doggedness and caustic starkness. Anchored around the inimitable presence of Joe Don Baker, this regional revenge flick is a deeply unromantic film in which everyone is perpetually drenched in sweat and where every room seems to stink of cigarettes and cheap beer. Like many of Karlson’s earlier works, it is taken as a given that the characters are operating in a dishonest world wherein figures of authority exist only to perpetuate their own power. The climax features a stunt involving a car and a moving train that is spectacular to watch but probably should have led to several arrests. Gun Crazy and In the Realm of the Senses present visions of all-consuming obsession in which the sanctity of two lovers’ passion is consecrated by an act of inevitable sacrifice. In Lewis’s noir, it is the sheer combustibility of Annie and Bart that requires their extinguishment by outside forces; in Ōshima’s film, the world simply grows so small that it can do nothing other than collapse in on itself. Love and ruination: together at last! Darik Janik Filmmaker Terra que marca (Striking Land, Raul Domingues, 2022) Pacifiction (Albert Serra, 2022) Incroyable mais Vrai (Incredible but True, Quentin Dupieux, 2022) Stars at Noon (Claire Denis, 2022) The United States of America (James Benning, 2022) Camuflaje (Camouflage, Jonathan Perel, 2022) Aftersun (Lluís Galter, 2022) Answering the Sun (Rainer Kohlberger, 2022) Tori et Lokita (Luc Dardenne, Jean-Pierre Dardenne, 2022) De Humani Corporis Fabrica (Lucien Castaing-Taylor, Verena Paravel, 2022) Unrueh (Unrest, Cyril Schäublin, 2022) Fumer fait tousser (Smoking Causes Coughing, Quentin Dupieux, 2022) Crimes of the Future (David Cronenberg, 2022) Elvis (Baz Luhrmann, 2022) Soseolgaui Yeonghwa (The Novelist’s Film, Hong Sang-soo, 2022) Onde Fica Etta Rua? (Where Is This Street? Or with No Before or After, João Rui Guerra da Mata, João Pedro Rodrigues, 2022) Elsewhere Starts Here and It’s All Happening (Darik Janik, 2022) Mato seco em chamas (Dry Ground Burning, Joana Pimenta, Adirley Queirós, 2022) The Plains (David Easteal, 2022) Vanskabte land (Godland, Hlynur Pálmason, 2022) Almost a Kiss (Camille Degeye, 2022) Skazka (Fairytale, Aleksandr Sokurov, 2022) Avec amour et acharnement (Both Sides of the Blade, Claire Denis, 2022) Three Thousand Years of Longing (George Miller, 2022) R.M.N (Cristian Mungiu, 2022) Viens je t’emmène (Nobody’s Hero, Alain Guiraudie, 2022) Coma (Bertrand Bonello, 2022) Warm Blood (Rick Charnoski, 2022) Aftersun (Charlotte Wells, 2022) Slaughterhouses of Modernity (Heinz Emigholz, 2022) Watchlist tab (Walk Up, Hong Sang-Soo, 2022) Human Flowers of Flesh (Helena Wittmann, 2022) Frère et soeur (Brother and Sister, Arnaud Desplechin, 2022) Showing Up (Kelly Reichardt, 2022) Man on Earth (Amiel Courtin-Wilson, 2022) Sparta (Ulrich Seidl, 2022) Les enfants des autres (Other People’s Children, Rebecca Zlotowski, 2022) Trenque Lauquen (Laura Citarella, 2022) Clorindo Testa (Mariano Llinas, 2022) Natt (Night, Mona J. Hoel, 2022) New to me Du li shi dai (A Confucian Confusion, Edward Yang, 1994) Singularity [Single-Channel] (Albert Serra, 2015) Les bas-fonds (The Lower Depths, Jean Renoir, 1936) Stars in My Crown (Jacques Tourneur, 1950) Thérèse (Alain Cavalier, 1986) Songs for Drella (Ed Lachman, 1990) Mat i syn (Aleksandr Sokurov, 1997) János vitéz (Johnny Corncob, Marcell Jankovics, 1973) Congratulations Debby (Roger Hayn, 2018, https://memory.is/debby) El Sicario, Room 164 (Gianfranco Rosi, 2010) Tara Judah Bristol-based film critic and improviser: festivals editor, Senses of Cinema I’d hoped and imagined that 2022 would be the year I fell in love with cinema again; the advent of small humans and Covid has driven a wedge between us. Kurzfilmtage Oberhausen and Far East Film Festival (Udine) were the only two film festivals I physically attended (I watched ‘a bit’ of London Film Festival at home), and, outside of ‘Baby cinema’, I’ve managed far fewer cinema trips to the cinema than I would like. My work as a critic has been hard: what I was paid to see was mostly rubbish, writing about it felt soulless and I’ve struggled to find the joy in Chrome casting screener links to my TV. As such, any sense I’d had of a career in the industry has gone from unstable to almost unbearable – I watched Empire of Light (Sam Mendes, 2022) on my laptop; I saw the trailer in the cinema and I cried – I expect 2023 will be the year that this work will become entirely untenable for me. That said, my highest hopes were always to contribute to Senses of Cinema, and I now hold great pride in having joined the journal’s editorial team. I am yet to see a handful of films I would expect to top my list: Flux Gourmet (Peter Strickland, 2022), Crimes of the Future (David Cronenberg, 2022), Khers Nist (No Bears, Jafar Panahi, 2022) EO (Jerzy Skolimowski, 2022). But then again, I saw the new Koreeda (my favourite living filmmaker) – Broker (Hirokazu Koreeda, 2022) – and I still struggled to make this list. These are the films I am still thinking about, they come in waves, I am grateful for the ebb and flow. The Plains (David Easteal, 2022) Enys Men (Mark Jenkin, 2022) Don’t Worry Darling (Olivia Wilde, 2022) Heojil kyolshim (Decision to Leave, Park Chan-wook, 2022) Nope (Jordan Peele, 2022) Corsage (Marie Kreutzer, 2022) The Souvenir: Part II (Joanna Jogg, 2021) RRR (S.S. Rajamouli, 2022) After Yang (Kogonada, 2021) The Menu (Mark Mylod, 2022) The Store (Hanna Sköld, 2022) Emily the Criminal (John Patton Ford, 2022) Pleasure (Ninja Thyberg, 2021) Pearl
