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      Nostalgia for the Present: The Godard Renaissance Continued

      Darren Hughes
      April 2005
      Feature Articles
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    • The Experimental Propagandist: Frank Capra and the Shape of Truth

      Richard Sowada
      January 2022
    • Heil Darling: a story of lips that haven’t laughed

      Pablo Gonçalo
      January 2022
    • The Night Shift: Woman as Outlaw Hero in The Man I Love

      Rob Nixon
      January 2022
    • Smooth Digital Reveries: On Proto-Vaporwave and The Flying Luna Clipper

      Dechlan Cochran
      January 2022
    • Promising Young Woman and the cinematic renegotiation of gender in rape-revenge

      Joy McEntee
      January 2022
    • Streaming paracinema: Charles Band, Full Moon Features and auteurism on third tier SVOD services

      Andrew Lynch and Alexa Scarlata
      January 2022
  • Interviews
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    • “Sometimes it is easier to forget.” - A Conversation with Dieudo Hamadi

      Darren Hughes
      January 2021
      Interviews
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    • Pom Bunsermvicha interview: “Being part of a family“

      Maja Korbecka
      January 2022
    • Leaning into the Challenge: Interview with Scattered co-creators Logan Mucha and Kate Darrigan

      Stuart Richards
      January 2022
    • “The cinema remains alive when it is diverse”: Interview with Jean-Gabriel Périot

      Daniel Fairfax
      January 2022
    • Do you feel lonely standing here? A conversation with Na Jiazuo

      Łukasz Mańkowski
      January 2022
    • A Joyride through Technological Change: Interview with David Cox

      Dirk de Bruyn
      January 2022
    • Sunken Film: Bill Morrison Talks The Village Detective: a song cycle

      Andrew Northrop
      July 2021
  • Great Directors
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    • Richardson, Tony

      Darren Hughes
      August 2007
      Great Directors
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    • Curtiz, Michael

      Jeremy Carr
      January 2022
    • Lau, Kar-leung

      Tom Cunliffe
      January 2022
    • Tahimik, Kidlat 

      Charles Fairbanks
      January 2022
    • Lucas, George

      Dan Golding
      July 2021
    • Riefenstahl, Leni

      Jeremy Carr
      July 2021
    • Obayashi, Nobuhiko

      Hal Young
      May 2021
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  • Festival Reports
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    • Cinema is Dead. Long Live Cinema. The 38th Annual Toronto International Film Festival

      Darren Hughes
      December 2013
      Festival Reports
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    • Thessaloniki International Film Festival: Rewriting the Rules of the Game

      Maria Giovanna Vagenas
      February 2022
    • The Pivot to Asia: The 34th Tokyo International Film Festival

      Kohei Usuda
      February 2022
    • Come Together: The 59th Viennale

      Leonardo Goi
      January 2022
    • From White Clouds, Wild Delights: The 18th Golden Apricot Yerevan International Film Festival

      Carmen Gray
      January 2022
    • AFI FEST-AFM: The Perils of Online

      Bérénice Reynaud
      January 2022
    • Looking for Love at HitchCon 2021

      Amelia Leonard and Jacob Agius
      January 2022
  • Book Reviews
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    • A Process of Purification: Badiou and Cinema by Alex Ling

      Darren Hughes
      December 2011
      Book Reviews
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    • 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 John Barrios

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

      Megan Carrigy
      July 2021
    • Time Machines: After Kubrick: A Filmmaker’s Legacy, edited by Jeremi Szaniawski

      Joy McEntee
      May 2021
  • CTEQ
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      Nicholas Ray, a Sentimental Bloke: They Live by Night

      Darren Hughes
      May 2002
      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 Darren Hughes

Darren Hughes

Darren Hughes is a freelance critic and co-founder/co-programmer of The Public Cinema in Knoxville, Tennessee.

A Decade+ in Review: The 2019 Toronto International Film Festival

Darren Hughes
October 2019
Festival Reports
On 31 December 2018, the fundraising arm of the Toronto International Film Festival sent a year-end email solicitation, urging recipients to support cinema by helping the organisation hit its annual target of 3...

Leadership Transitions, Critical Voices and Experimental Cinema at the 2018 Toronto International Film Festival

Darren Hughes
December 2018
Festival Reports
In 2018, the Toronto International Film Festival joined Sundance, Berlin, Locarno and Vienna in announcing major changes in leadership. After 36 years at TIFF, the final 24 of them as chief executive officer, P...
TIFF

Wavelengths at the 2017 Toronto International Film Festival

Darren Hughes
December 2017
Festival Reports
My conversations during the first two days of the 2017 Toronto International Film Festival were dominated by two subjects: Twin Peaks: The Return, which had aired its final episodes earlier in the week (and ult...
TIFF

Wavelengths at the 2016 Toronto International Film Festival

Darren Hughes
December 2016
Festival Reports
The 2016 Wavelengths shorts program opened auspiciously with Ana Mendieta’s Silueta Sangrienta (Bloody Silhouette). Made in 1975 in Iowa City, the two-minute, Super-8 film begins with a high-angle shot of Mendi...
Toronto International film festival review

No Home Movies: Wavelengths at the 2015 Toronto International Film Festival

Darren Hughes
December 2015
Festival Reports
The 2011 edition of the Toronto International Film Festival’s Wavelengths program included Mark Lewis’s short film, Black Mirror at the National Gallery, in which two bulky, fully articulated machines – one man...

Image Problems: The 2014 Toronto International Film Festival

Darren Hughes
December 2014
Festival Reports
Feature Image: I am Here “WTF is this movie?!” I scribbled this note midway through I Am Here, Fan Lixin’s trainwreck of a documentary about Super Boy, an American Idol-style talent show that is a ratings s...

Sheer Playfulness and Deadly Seriousness: On Watching Avant-Garde Shorts at the 43rd International Film Festival Rotterdam

Darren Hughes
March 2014
Festival Reports
“Most of the filmmakers I cover don’t get paid to make their films, so why should I expect to get paid to write about them?” – Michael Sicinski To get straight to the point: if the 2014 International Film Fest...

Reasoned Arguments: A Conversation with Frederick Wiseman about At Berkeley

Darren Hughes
December 2013
Feature Articles
Frederick Wiseman’s second documentary, High School (1968), was at the time of its release an unprecedented glimpse into America’s public education system. Throughout his career, Wiseman has bristled at the ter...

Cinema is Dead. Long Live Cinema. The 38th Annual Toronto International Film Festival

Darren Hughes
December 2013
Festival Reports
By coincidence, the 2013 Toronto International Film Festival began and ended for me with strikingly similar images. The first film I saw, Jafar Panahi’s Closed Curtain, opens with a minutes-long shot through a ...

A Conversation with Nicolas Rey

Darren Hughes
December 2012
Feature Articles
Nicolas Rey’s third feature film, differently, Molussia (2012), is an adaptation of a novel he’s never read. Written between 1932 and 1936, Günther Anders’s The Molussian Catacomb analyzes the rise of fascism...

Where More Meets MORE: The 37th Toronto International Film Festival

Darren Hughes
November 2012
Festival Reports
“Where OMG Meets WTF”. This was the first tagline I spotted at the 2012 Toronto International Film Festival. Others included “Where Fantasy Meets Reality”, “Where Indie Meets Epic”, “Where Wow Meets Huh?” an...

Nostalgia, Chaos, and Moments of Ecstasy: The 36th Toronto International Film Festival

Darren Hughes
December 2011
Festival Reports
Festival Business The opening weekend of the 2011 Toronto International Film Festival also signalled the beginning of TIFF’s second year in the $200 million dollar TIFF Bell Lightbox. The public side of the ...

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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