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    • Albert Serra Alexander Sokurov

      “Whose death, whose power?”: Crystal images and the political unconscious in the films of Albert Serra and Alexander Sokurov

      Brigitta Wagner
      March 2017
      Feature Articles
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    • A Face in the Crowd: Ritual, Mythological and Political contexts in Stranger and the Fog

      Amir Hossein Siadat
      November 2023
    • Consensus Empire: Empowering the Spectator through Letterboxd Reviews

      Tyler Thier
      November 2023
    • We Can’t Save The Victims: Hauntology in Tony Scott’s Déjà Vu

      Aryan Tauqeer Khawaja
      November 2023
    • Situating Lucile Hadžihalilović’s Good Boys Use Condoms

      Oliver Kenny
      November 2023
    • Songs of Joy and Melancholy: On My Darling in Stirling

      Frankie Kanatas
      November 2023
    • Film Criticism and the Grotesque: A Very American Tár & an Oz Elvis

      Laleen Jayamanne
      August 2023
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      Brigitta Wagner
      July 2022
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      Gary M. Kramer
      November 2023
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      Mike Hoolboom
      November 2023
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      Amanda Barbour
      November 2023
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      Amanda Barbour
      November 2023
    • Our Body is a Battleground: An Interview with Claire Simon

      Öykü Sofuoğlu
      November 2023
    • “Irritation Is the Most Important Tool Any Artist Has”: An Interview with Jessica Hausner

      Jaimey Fisher & Gerd Gemünden
      November 2023
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      Ophuls, Max

      Brigitta Wagner
      December 2017
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      Deborah Allison
      November 2023
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      Jeremy Carr
      November 2023
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      Jeremy Carr
      May 2023
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      Benjamin Kooyman
      May 2023
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      Giampiero Frasca
      January 2023
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      Sherry Johnson
      January 2023
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      Brigitta Wagner
      May 2023
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      Gabrielle Stecher
      November 2023
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      Eloise Ross
      August 2023
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      Jacob Agius
      October 2022
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      Joy McEntee
      May 2022
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      May 2022
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      Jeremy Carr
      May 2022
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      Latin Love Triumphs: The 57th International Film Festival Mannheim-Heidelberg

      Brigitta Wagner
      April 2009
      Festival Reports
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    • In Search of Indie’s Soul: Chinese Independent Cinema Today and Beyond

      Xiang Fan
      November 2023
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      Roger Macy
      November 2023
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      Jonathan Mackris
      November 2023
    • Magnetizing and still Putting on Weight – the 37th Il Cinema Ritrovato

      Roger Macy
      November 2023
    • Dealing with the past, and present, at the 29th Sarajevo Film Festival

      Randy Malamud
      November 2023
    • 76th Locarno Film Festival: Culture on the Edge, Tumbling Into Futures Unknown

      Jaimey Fisher
      November 2023
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    • The Big Goodbye: “Chinatown” and the Last Years of Hollywood, by Sam Wasson

      Brigitta Wagner
      April 2020
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    • Facing the Other: Keyvan Manafi’s The Eye of the Cinematograph: Levinas and Realisms of the Body

      M. Sellers Johnson
      November 2023
    • A Man of Genius Has Been Seldom Ruined But By Himself: Ethan Warren’s The Cinema of Paul Thomas Anderson

      Hannah Bonner
      November 2023
    • The Rebellious and the Rigorous: The Red Years of Cahiers du cinéma (1968-1973), by Daniel Fairfax

      Tony McKibbin
      August 2023
    • A Journey through Serge Daney’s Cinema House

      Emmanuel Bonin
      August 2023
    • Bloody, Raging Females: Five Books Examine Contemporary Feminist Horror Films

      Holly Willis
      May 2023
    • Cinematic Bottom-Feeding: Why It’s OK to Love Bad Movies, by Matthew Strohl

      Sam Woolfe
      May 2023
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    • Merrily We Go to Hell

      Kicking Over the Traces: Dorothy Arzner’s Merrily We Go To Hell (1932)

      Brigitta Wagner
      February 2017
      CTEQ Annotations on Film
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    • Western

      Martyn Bamber
      December 2023
    • History and Oblivion: Radu Jude tells a “new” story an old way with Aferim!

      Shari Kizirian
      December 2023
    • Silver City

      Grace Boschetti
      November 2023
    • The Golden Cage: Ayten Kuyululu and Australian Cinema

      Adrian Danks
      November 2023
    • Twice a Man

      Darragh O’Donoghue
      November 2023
    • A Rainha Diaba

      Mateus Nagime
      November 2023
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Author Brigitta Wagner

Brigitta Wagner

Brigitta Wagner is a film historian and filmmaker. She is the author of Berlin Replayed: Cinema and Urban Nostalgia in the Postwall Era and the director of Rosehill.

A Different Kind of Love Story: An Interview with Dustin Guy Defa

Brigitta Wagner
May 2023
Interviews
Wolfgang Kohlhaase, a prolific German screenwriter from the former East, once told me that cinematic realism was to him like the view out the kitchen window of one’s childhood home. What struck me at the time w...

The Creative Leap to Fluid Consciousness: An Encounter with Ashley McKenzie

Brigitta Wagner
May 2022
Interviews
In Corona’s third winter, it was hard to care about cinema as one should. The kind of cinema that requires one’s physical presence in theatres and at festivals. Gathering indoors with strangers has become a cha...

Women’s Cinematic Heights in Times of Covid: An Interview with Eliza Hittman

Brigitta Wagner
April 2020
Conversations with Filmmakers Across the Globe
A million years ago, or what feels about that long, Berlin got away with one of the last major film festivals before Covid-19 halted not just life as we know it, but also the film industry’s long-established pr...

Recovering the Phantom Limb: An Interview with Jennifer Reeder

Brigitta Wagner
March 2019
Interviews
2019 was the year that the Berlin International Film Festival wanted us all to know that it takes gender parity seriously. Not only did the festival expand, in its 69th edition, the gender statistics it keeps o...

Sustaining a Cinema of Modest Means: An Interview with Ted Fendt, Ricky D’Ambrose and Graham Swon

Brigitta Wagner
March 2018
Feature Articles
Despite the controversy surrounding Dieter Kosslick’s imminent departure after a long tenure as director of the Berlin International Film Festival and German filmmakers’ open letter last November calling for mo...
Nana and Simon interview

Intuition and the Search for Deep Emotion: An Interview with Nana & Simon

Brigitta Wagner
March 2017
Movements: Filmmaker Interviews
In order to understand what the collaborative filmmaking couple Nana Ekvtimishvili and Simon Groβ, known simply as Nana & Simon, do so beautifully in their new feature, Chemi Bedinieri Ojakhi (My Happy Fami...
Philip Scheffner interview

A Shared Space at Eye Level: An Interview with Documentary Filmmaker Philip Scheffner

Brigitta Wagner
March 2016
Feature Articles
There is something prescient about the films of Philip Scheffner. While news teams chase down the stories of the moment and documentary opportunists vie to be the first at the hot-topic buffet, Scheffner is the...

The Art of Citational Cinema: An Interview with Alex Ross Perry

Brigitta Wagner
March 2015
Feature Articles
Feature image: Queen of Earth (dir. Alex Ross Perry, 2015) As a historian of German cinema, I used to cringe when people said, “German cinema? Oh, like Fassbinder, Wenders and Herzog.” As if there were no othe...

Uncanny, Haptic Encounters and the Importance of Play: An Interview with Josephine Decker, Filmmaker

Brigitta Wagner
March 2014
Feature Articles
Not all actors are filmmakers, and not all filmmakers can act. And certainly not all actor-filmmakers walk in slow motion in Times Square with cans of oil poised on their heads (in performance protest of the 20...

The Porterfield Touch: An Interview with Matthew Porterfield

Brigitta Wagner
July 2013
Feature Articles
When can a filmmaker be said to have ‘a touch’? Ernst Lubitsch had a touch, but what exactly was this? A penchant for comic timing, for finding just the right way to stage a visual punch line or to tickle spect...

Accidental Cinema and the YouTube Sublime: An Interview with Joe Swanberg

Brigitta Wagner
June 2011
Feature Articles
Often seen as the figurehead of the so-called “mumblecore” cineastes, Joe Swanberg discusses the aesthetic and technological practices that inform this indie phenomenon.
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New Old Visions: The 27th Giornate del Cinema Muto

Brigitta Wagner
March 2009
Festival Reports
4-11 October 2008 Pordenone, Italy: A student of mine recently referred to silent films as “movies without speaking”. When I screened two silents in two consecutive weeks, his classmates groaned, “Anothe...

Established in Melbourne (Australia) in 1999, Senses of Cinema is one of the first online film journals of its kind and has set the standard for professional, high quality film-related content on the Internet.

Senses of Cinema was founded on stolen lands. We acknowledge the sovereignty of the Wurundjeri and Boon Wurrung people of the Kulin nation and support all Aboriginal people on their paths to self-determination.

 

© Senses of Cinema 2019

Staff Members

Editors:

César Albarrán-Torres • Tara Judah • Abel Muñoz-Hénonin • Fiona Villella • Nace Zavrl

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