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    • Sonia Kennebeck interview

      “More publicity means more protection”: An interview with documentary director Sonia Kennebeck

      Hugo Emmerzael
      September 2016
      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
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      Tyler Thier
      November 2023
    • We Can’t Save The Victims: Hauntology in Tony Scott’s Déjà Vu

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

      Frankie Kanatas
      November 2023
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      Laleen Jayamanne
      August 2023
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      Hugo Emmerzael
      November 2023
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      Gary M. Kramer
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      Amanda Barbour
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      Amanda Barbour
      November 2023
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      Öykü Sofuoğlu
      November 2023
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      Jaimey Fisher & Gerd Gemünden
      November 2023
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      Gary M. Kramer
      November 2023
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      Hugo Emmerzael
      March 2015
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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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      Sherry Johnson
      January 2023
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      Giampiero Frasca
      January 2023
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      Hugo Emmerzael
      May 2022
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      Gabrielle Stecher
      November 2023
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      Eloise Ross
      August 2023
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      May 2023
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      Jacob Agius
      October 2022
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      Joy McEntee
      May 2022
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      Jeremy Carr
      May 2022
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      You’re Smiling! You’re Winning! Have You Considered CineVegas?

      Hugo Emmerzael
      July 2003
      Festival Reports
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      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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      A City Under the Influence: The Place of the Audience: Cultural Geographies of Film Consumption by Mark Jancovich and Lucy Faire with Sarah Stubbings

      Hugo Emmerzael
      July 2004
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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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      Battleship Potemkin

      Hugo Emmerzael
      March 2000
      CTEQ Annotations on Film
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      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 Hugo Emmerzael

Hugo Emmerzael

Hugo Emmerzael is a film critic and programmer based in Amsterdam. He is an editor of monthly independent Dutch film magazine, De Filmkrant, with other writings published in MUBI Notebook, Electric Ghost Magazine, Frame.Land, VPRO and more. Hugo works as a programmer for various arthouse theatres in the Netherlands, CinemAsia Film Festival and as the Director’s Forum curator of Netherlands Film Festival.

“Can I get an encore?” On “Numb/Encore” in Michael Mann’s Miami Vice (2006)

Hugo Emmerzael
October 2020
Pop Music in Film
Well, I've been waiting for this moment for all my life, oh Lord. -Phil Collins, “In The Air Tonight” I'm in, Boeing jets, Global Express Out the country but the Blueberry still connect. -JAY-Z, “Numb/En...

Reaching Into History: Radu Jude on Uppercase Print and The Exit of the Trains

Hugo Emmerzael
April 2020
Conversations with Filmmakers Across the Globe
When Radu Jude emerged on the film festival circuit in 2009 with his feature debut, Cea mal ferictã fatã din lume (The Happiest Girl in the World), he was closely associated with the second salvo of directors f...

Rome, Open City: A Conversation with Abel Ferrara

Hugo Emmerzael
July 2019
Interviews
Welcome to Rome, where the film provocateur behind seedy New York City classics like Ms .45 (1981), King of New York (1990) and Bad Lieutenant (1992) has taken up his residence. After a run of films and documen...

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

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

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