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    • Carnal Spirituality: the Films of Carlos Reygadas

      Adam Powell
      July 2010
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    • Bigger than life, or stranger: Pedro Costa’s Vitalina Varela: Part II

      Thomas Austin
      May 2022
    • Fire Machines: Titane and the Pyrotechnics of Love

      Emmalea Russo
      May 2022
    • Cringing Violently: Reparative Watching, Phenomenology and Discomfort in Australian Cinema

      Caitlin Wilson
      May 2022
    • Deleuzian Rumblings: Residue by Desire Machine Collective

      Vedant Srinivas
      May 2022
    • Acts of Faith: On Benedetta (Paul Verhoeven, 2021)

      Peter Verstraten
      May 2022
    • ‘Is The Power of the Dog a New Zealand film? National Identity, Genre and Jane Campion’

      Alfio Leotta & Missy Molloy
      May 2022
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    • “You don’t get to hate it unless you love it”: Joe Talbot and Jimmie Fails on The Last Black Man in San Francisco

      Adam Powell
      October 2019
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    • Human is only human when vulnerable: An Interview With Michel Franco

      Savina Petkova
      May 2022
    • ‘I Was Taunting the Western’: An Interview with Alejandra Márquez Abella

      Silvia Spitta & Gerd Gemünden
      May 2022
    • “The Act of Filming is an Inner and Physical Journey in Itself”: Interview with Helke Misselwitz

      Victor Paz
      May 2022
    • Information as a music video, comedy as a diagram: Beny Wagner & Sasha Litvintseva in conversation

      Madeleine Collier
      May 2022
    • The Creative Leap to Fluid Consciousness: An Encounter with Ashley McKenzie

      Brigitta Wagner
      May 2022
    • Interview with Albert Birney & Kentucker Audley

      Nolan Kelly
      May 2022
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      Adam Powell
      December 2011
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      Sanya Osha
      May 2022
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      Darragh O’Donoghue
      May 2022
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      Jeremy Carr
      January 2022
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      Tom Cunliffe
      January 2022
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      Charles Fairbanks
      January 2022
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      Dan Golding
      July 2021
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      Adam Powell
      January 2022
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      Joy McEntee
      May 2022
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      Wheeler Winston Dixon
      May 2022
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      Jeremy Carr
      May 2022
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      Mark Lager
      May 2022
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      Clouds over Berlin: A Few Remarks about German Cinema at the 68th Berlin International Film Festival

      Adam Powell
      March 2018
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    • Day by Day: IFFR 2022

      Madeleine Collier
      May 2022
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      Tara Judah
      May 2022
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      Tara Judah
      May 2022
    • From Within the Umbra of History: A Few Things about the Films of Rainer Komers, Sohrab Hura and Sylvia Schedelbauer

      Anuj Malhotra
      May 2022
    • Film Goes On (?): The 23rd Jeonju International Film Festival

      Marc Raymond
      May 2022
    • Play-Doc 2022: António Campos, a secret filmmaker

      Ricardo Vieira Lisboa
      May 2022
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      Meet John Cassavetes

      Adam Powell
      September 2001
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    • How to Do Things with Camera Movement: The Lure of the Image: Epistemic Fantasies of the Moving Camera, by Daniel Morgan

      Kyle Barrowman
      May 2022
    • The Depths of Empiricism: Werner Herzog: Ecstatic Truth and Other Useless Conquests, by Kristoffer Hegnsvad

      Tony McKibbin
      January 2022
    • Hollywood, Reinvented: Shooting Midnight Cowboy: Art, Sex, Loneliness, Liberation, and the Making of a Dark Classic, by Glenn Frankel

      Elroy Rosenberg
      January 2022
    • Rhythm and Light: Poetic Cinema and the Spirit of the Gift in the Films of Pabst, Parajanov, Kubrick, and Ruiz, by Laleen Jayamanne

      Steven Shaviro
      July 2021
    • West Side Story Redux: West Side Story: The Jets, the Sharks, and the Making of a Classic, by Richard Barrios

      Adrian Schober
      July 2021
    • Foraging in a Transforming Mediascape: Cinemas Dark and Slow in Digital India, by Lalitha Gopalan

      Megan Carrigy
      July 2021
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      Laughing Gas: The Dentist

      Adam Powell
      December 2003
      CTEQ Annotations on Film
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    • Shockproof (Douglas Sirk, 1949): The Insanity of Romantic Desire

      Wheeler Winston Dixon
      May 2022
    • The Grotesque Loves of Jealousy, Italian Style (Ettore Scola, 1970)

      Tiia Kelly
      May 2022
    • A Geography of Fractured Desire: Michelangelo Antonioni’s L’eclisse (1962)

      Danica van de Velde
      May 2022
    • Il Deserto Rosso (Red Desert, Michelangelo Antonioni, 1964)

      Boyd van Hoeij
      May 2022
    • ‘You Can’t Make an Omelette…’ – Modesty Blaise (Joseph Losey, 1966) and the Art of Breaking Eggs

      David Melville
      May 2022
    • Fritz Lang’s Spione (1928)

      Shari Kizirian
      May 2022
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Author Adam Powell

Adam Powell

Adam Powell is a writer on cinema based in London. His primary research areas are the legacy of Andrei Tarkovsky and Robert Bresson in modes of realism in contemporary world cinema as well as post war British Cinema and London on film. He has conducted extensive interviews with Carlos Reygadas, Nicolas Winding Refn and Pedro Costa.

Sabata

Sabata (Gianfranco Parolini, 1969): The Best of the Bad

Adam Powell
June 2018
CTEQ Annotations on Film
Lee Van Cleef passed away at the end of the 1980s, and his gravestone at the burial plot in the Hollywood Hills cemetery reads “Best of the Bad”. This epitaph is wholly appropriate, and inspires a multitude of ...
Aurora

Opaque Atrocity: Aurora (Cristi Puiu, 2010)

Adam Powell
September 2017
CTEQ Annotations on Film
Michael Haneke’s Funny Games (1997) was emblematic in the late nineties as a European auteur product rallying against the evils of homogeneous Hollywood style film making. It arrived in Cannes in 1997 to much c...
Hard Times

Hard Times (1975): Walter Hill’s Bareknuckle Ballad

Adam Powell
March 2017
CTEQ Annotations on Film
Peter Biskind’s sensationalist bestseller Easy Riders, Raging Bulls (1998) paints the picture of the great but crumbling Hollywood institution at the close of the sixties being stormed by a group of young and r...
Fitzcarraldo

Fitzcarraldo (Werner Herzog, 1982): Waking Dreams and Casting Spells in the Jungle

Adam Powell
March 2016
CTEQ Annotations on Film
“Herzog is a music addicted gypsy who is a specialist on limited people (cripples, dwarfs, the blind and deaf) and has an outsized rage as extreme as his odd outre technique” - Manny Farber, 1975 As Herzog’s f...
The Red and The White film review

The Red and The White (1967): The Political and Metaphysical Sequence Shot

Adam Powell
September 2015
CTEQ Annotations on Film
“For a while I was famous for my ‘long takes’, these sequence shots that last several minutes. At that time it was really special. Within these sequence shots there were close-ups and long shots – everything. F...
Flowing film review

Naruse’s World of Women: Flowing (1956)

Adam Powell
June 2015
CTEQ Annotations on Film
One of leading directors of contemporary European cinema, Pedro Costa gave a lecture in Tokyo in 2005 where he outlined the potency of the great Japanese masters as both presenting and hiding certain images of ...

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