Introduction: “How Do You Like It?” (Forty Years On) – The Shining in the Age of Global Quarantine Jeremi Szaniawski July 2020 The Shining at 40 “Forever and ever (and ever)” since its release, Stanley Kubrick’s The Shining (1980) has generated an uncanny amount of literature, by critics and fans alike. The critical response, following initially lukewar...
“Come Out, Come Out, Wherever You Are”: The Legacy of The Shining in Contemporary Cinema Jeremi Szaniawski July 2020 The Shining at 40 Much like Alfred Hitchcock with Psycho (1960), Stanley Kubrick sought, with The Shining (1980), to conduct an experiment in cinematic fear. While neither of the films can be reduced to it, this experimental dim...
The Shining and Us – Participants to the Dossier Reflect on Their First Encounter with Stanley Kubrick’s The Shining Marta Figlerowicz, Alexander Nemerov, Joy McEntee, Christine Lee Gengaro, Geoffrey Cocks, Ian Christopher, Mick Broderick, Jessica Balanzategui, Nathan Abrams, Valerio Sbravatti, Ilaria Franciotti, Rick Warner, Jeremi Szaniawski, Pip Chodorov, Daniel Fairfax and Filippo Ulivieri July 2020 The Shining at 40
“Mesdames, mesdemoiselles, messieurs: un classique!”: Eric Rohmer’s Film Theory (1948-1953) – From ‘École Scherer’ to ‘Politique des Auteurs’ by Marco Grosoli Jeremi Szaniawski October 2019 Book Reviews In 1987, when his book, which serves as one of the first efforts in English to reassess and appraise the films and legacy of Roberto Rossellini (1987), was first released, Peter Brunette pointed to the dearth o...
A Mensch’s Moviemaking: Stanley Kubrick: New York Jewish Intellectual, by Nathan Abrams Jeremi Szaniawski July 2019 Book Reviews Stanley Kubrick belongs to the category of select filmmakers to have elicited a massive body of critical work as well as gained a cult following among fans and mainstream audiences. In his expert study of Jewis...
After Kubrick (1927-1999): a Cinematic Legacy Jeremi Szaniawski March 2019 Feature Articles “We’re all children of Kubrick, aren’t we? Is there anything you can do that he hasn’t done?” Paul Thomas Anderson Stanley Kubrick (1927-1999) passed away twenty years ago – on March 7, 1999 – while in the pr...
The Strange Shape of Their Cinema’s Body Jeremi Szaniawski June 2018 Split/Screen Cattet/Forzani Hélène Cattet and Bruno Forzani redefine the limits of cinematic grammar, and, further, of the cinematic body – a fascinating two-headed creature, with at its pulsating heart a manifest drive to pierce through ...
Interview with Ève Commenge Jeremi Szaniawski June 2018 Split/Screen Cattet/Forzani Behind the success-story of filmmaking couple Hélène Cattet and Bruno Forzani is that of producer Ève Commenge. These three French expatriates have developed a very close and organic collaboration in Belgium to...
“The absolute and ultimate manifestation of the power of the mind over technology”: Gaspar Noé talks 2001: a Space Odyssey Pip Chodorov and Jeremi Szaniawski June 2018 Feature Articles This interview was conducted in person by Pip Chodorov, with additional questions by Jeremi Szaniawski, at the Cannes Grand Hotel, 18 May 2018. It was edited and translated from French by Jeremi Szaniawski. • ...
2007: Cargo 200 (Aleksei Balabanov) Jeremi Szaniawski December 2017 100 Years of Soviet Cinema Balabanov’s Law: Cargo 200 (Aleksei Balabanov, 2007) Throughout his short but prolific career, Aleksei Balabanov (1959-2013) produced an oeuvre – most famously his low-budget cult hit Brat (Brother, 1997) – th...
1997: Mother and Son (Aleksandr Sokurov) Jeremi Szaniawski December 2017 100 Years of Soviet Cinema Before Empire Come: Mother and Son (Aleksandr Sokurov, 1997) The story of a mother slowly dying while in the care of her son, Mat i syn (Mother and Son, 1997) was lauded worldwide at the time of its release – ...
“Whose death, whose power?”: Crystal images and the political unconscious in the films of Albert Serra and Alexander Sokurov Jeremi Szaniawski March 2017 Feature Articles Albert Serra’s recent La Mort de Louis XIV (The Death of Louis XIV, 2016), starring Jean-Pierre Léaud as the ailing king, has been rightly hailed a masterpiece. Its central preoccupation with aging and/or dying...
