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      Battle in Heaven: An Interview with Carlos Reygadas

      Brigitta Wagner
      February 2006
      Feature Articles
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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
  • Interviews
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    • The God of the Camera is a Coloniser: An Interview with RaMell Ross

      Brigitta Wagner
      July 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
    • Interview with Albert Birney & Kentucker Audley

      Nolan Kelly
      May 2022
    • The Creative Leap to Fluid Consciousness: An Encounter with Ashley McKenzie

      Brigitta Wagner
      May 2022
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    • Ichikawa, Kon

      Brigitta Wagner
      April 2004
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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
    • Lucas, George

      Dan Golding
      July 2021
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      Brigitta Wagner
      May 2022
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      Joy McEntee
      May 2022
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      Wheeler Winston Dixon
      May 2022
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      Mark Lager
      May 2022
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      Jessica Balanzategui
      January 2022
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    • The Tree of Cinema: The 46th Karlovy Vary International Film Festival

      Brigitta Wagner
      October 2011
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      Madeleine Collier
      May 2022
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      Tara Judah
      May 2022
    • Stuck in traffic: IFFR 2022

      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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      Scorsese’s Alibis? Scorsese’s Men: Melancholia and the Mob by Mark Nicholls

      Brigitta Wagner
      October 2004
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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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      Marlene Dietrich - Filmography

      Brigitta Wagner
      June 2000
      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 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.

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.

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© Senses of Cinema 2019

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César Albarrán-Torres • Amanda Barbour • Tara Judah • Abel Muñoz-Hénonin • Fiona Villella

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