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    • Concrete Vanities: Terrence Malick’s Knight of Cups

      Jorge Mourinha
      March 2015
      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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    • A Mirror of the Ever-Changing Cinematic Landscape: the Eclectic Oeuvre of James Scott

      Jorge Mourinha
      January 2021
      Interviews
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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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    • Noé, Gaspar

      Jorge Mourinha
      October 2003
      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
  • Great Actors
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    • Cage, Nicolas

      Jorge Mourinha
      January 2022
      Great Actors
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    • Lansbury, Angela

      Joy McEntee
      May 2022
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      Wheeler Winston Dixon
      May 2022
    • Garbo, Greta

      Jeremy Carr
      May 2022
    • Magee, Patrick

      Mark Lager
      May 2022
  • Festival Reports
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    • Where More Meets MORE: The 37th Toronto International Film Festival

      Jorge Mourinha
      November 2012
      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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    • Vincente Minnelli: The Art of Entertainment edited by Joe McElhaney

      Jorge Mourinha
      September 2009
      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
  • CTEQ
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    • Vacant Possession

      Sensing the Past: Margot Nash’s Vacant Possession

      Jorge Mourinha
      March 2016
      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 Jorge Mourinha

Jorge Mourinha

Jorge Mourinha is a film critic at Lisbon's daily newspaper Público and maintains film review blog The Flickering Wall.

Documents and Eyewitnesses: the Archipelago of the 12th Doclisboa

Jorge Mourinha
December 2014
Festival Reports
Jean-Luc Godard may not have invented the filmic convergence of la grande Histoire and la petite histoire, of the way that art and, especially, cinema can highlight the intersection between personal history and...

The Proof and the Pudding: Indie Lisboa’s 10th Anniversary Edition

Jorge Mourinha
June 2013
Festival Reports
Ten years is always a nice age for any film festival to reach, especially in a country in a deep recession where the investment in culture has shrunk to almost non-existent numbers. It's to its credit that Indi...

A State of Urgency: The 2012 DocLisboa – International Documentary Film Festival

Jorge Mourinha
November 2012
Festival Reports
Urgency was the key word for the 10th anniversary of DocLisboa. The urgency of the state of the world around us; the urgency of finding new ways to translate it into moving images; the urgency of showing people...

State of the Nation: Portuguese Short Film at the 20th Vila do Conde International Short Film Festival

Jorge Mourinha
August 2012
Festival Reports
In 1993, critic and essayist Augusto M. Seabra published a prescient column in the daily Público saluting a new generation of Portuguese filmmakers emerging in the short film format, usually little seen out...

Telling Real-Life Stories: the 9th DocLisboa International Documentary Film Festival

Jorge Mourinha
December 2011
Festival Reports
Over the course of nine years, DocLisboa has grown in stature into one of the key European shop windows of modern non-fiction film. Lisbon's documentary film festival has become a yearly rendezvous, an opportun...
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28,000 People Can’t be Wrong: The 3rd IndieLisboa Festival

Jorge Mourinha
July 2006
Festival Reports
April 20–30, 2006 What exactly defines “indie cinema” these days? Its subject, its mode of production or of release, its format, its budget, some indefinable melding of all the above? We could hang aroun...

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