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      “Surrealism” and the Omnipotence of Cinema

      Christoph Huber
      August 2007
      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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    • Sunken Film: Bill Morrison Talks The Village Detective: a song cycle

      Christoph Huber
      July 2021
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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
  • Great Directors
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    • Aldrich, Robert

      Christoph Huber
      May 2002
      Great Directors
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    • Smith, Jack: Travails of an Underground Artist

      Sanya Osha
      May 2022
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      Darragh O’Donoghue
      May 2022
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      Jeremy Carr
      January 2022
    • Lau, Kar-leung

      Tom Cunliffe
      January 2022
    • Tahimik, Kidlat 

      Charles Fairbanks
      January 2022
    • Lucas, George

      Dan Golding
      July 2021
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      Christoph Huber
      May 2022
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      Joy McEntee
      May 2022
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      Jeremy Carr
      May 2022
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      Mark Lager
      May 2022
    • Cage, Nicolas

      Jessica Balanzategui
      January 2022
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      Iranian Cinema at MIFF 2000

      Christoph Huber
      September 2000
      Festival Reports
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    • Day by Day: IFFR 2022

      Madeleine Collier
      May 2022
    • Stuck in traffic: IFFR 2022

      Tara Judah
      May 2022
    • Absence and Presence at Internationale Kurzfilmtage Oberhausen. 68.

      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
  • Book Reviews
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      Personal Memories: A Review of Citizen Sarris

      Christoph Huber
      June 2001
      Book Reviews
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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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    • The Docks of New York

      Christoph Huber
      March 2012
      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 Christoph Huber

Christoph Huber

Christoph Huber is a Curator in the Program Department of the Austrian Film Museum, where he co-conceived several large retrospectives. He has a Degree as DI of Physics at the Technical University of Vienna, and was a film critic and arts editor for Die Presse from 1999-2014. He is the European editor of the Canadian film magazine Cinema Scope, and a contributor to many international magazines and websites. He is co-author (with Olaf Möller) of books about Peter Kern and Dominik Graf.

Introduction Hélène Cattet Bruno Forzani

A Language of Their Own:  An Introduction to Hélène Cattet and Bruno Forzani

Christoph Huber
June 2018
Split/Screen Cattet/Forzani
Making a splash on the festival circuit with their feature debut Amer (2009), Hélène Cattet and Bruno Forzani stunned critics and audiences alike with a fully formed signature style that instantly garnered atte...
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Readjusting Perspective: The 57th Cannes Film Festival

Christoph Huber
July 2004
Festival Reports
There is general consensus that the 2004 Cannes Film Festival represented a return to form after last year's rather miserable outing (although it certainly hadn't been the fiasco of mythic proportions exagg...
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Curious about Crap: Fruit Chan’s Public Toilet (2002)

Christoph Huber
January 2003
Fruit Chan
Chan's latest film may be puzzling, yet it certainly continues his commitment to an innovative, subtly politicised cinema aesthetic.
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The 30th Rotterdam International Film Festival – 18 Films Spotlighted

Christoph Huber
February 2001
Festival Reports
Film festivals usually take place in a realm of their own. You fear intensely you might miss something that will never surface again or you're so eager to encounter that specific movie right now that you ac...
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Andromeda Heights

Christoph Huber
February 2001
Actor/Auteur: Clint Eastwood
An astute, lively discussion of the director's subtle, ongoing project of revising and interrogating the classic Eastwood screen persona.

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