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    • Either and Or: On Terrence Malick's Tree of Life

      Justine Smith
      October 2011
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    • Respecting the Lives of Others: Bergman Island, Hommage and Anaïs in Love

      Anthony McKibbin
      August 2022
    • Protestploitation ’70: Revisiting Zabriskie Point and Strawberry Statement

      Selen Ozturk
      July 2022
    • More than a Wink: The Nature of Reality in Blow-Up and Las Babas del Diablo

      Will Hair
      July 2022
    • Suicide and Genius: Insights into One Episode of Akira Kurosawa’s Dreams

      Matthew Michaud & Justin Richardson
      July 2022
    • Interrogating Identity: The Fractal Self in Le petit soldat

      Michael James Beck
      July 2022
    • Bigger than life, or stranger: Pedro Costa’s Vitalina Varela: Part III

      Thomas Austin
      July 2022
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      Justine Smith
      May 2022
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      Maja Korbecka
      July 2022
    • The Plains: Conversation with David Easteal

      Maria Giovanna Vagenas
      July 2022
    • 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
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      Justine Smith
      July 2006
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      Sanya Osha
      May 2022
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      Darragh O’Donoghue
      May 2022
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      Jeremy Carr
      January 2022
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      Tom Cunliffe
      January 2022
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      Charles Fairbanks
      January 2022
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      Dan Golding
      July 2021
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      Justine Smith
      January 2022
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      Joy McEntee
      May 2022
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      Wheeler Winston Dixon
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      Jeremy Carr
      May 2022
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      Mark Lager
      May 2022
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      Asia the Mighty, Asia da Rude: Places of Plenty: The 8th Far East Film Festival of Udine

      Justine Smith
      July 2006
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      Bérénice Reynaud
      August 2022
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      Cerise Howard
      August 2022
    • Normality: The 2022 Cannes Film Festival

      Daniel Fairfax
      August 2022
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      Roger Macy
      July 2022
    • Keeping the Fires Burning: A Week at the San Francisco Silent Film Festival

      Jonathan Mackris
      July 2022
    • New Territories and Old Dreams of Independence – Chinese and Hong Kong documentaries at the Taiwan International Documentary Festival

      Judith Pernin
      July 2022
  • Book Reviews
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    • The Films of Budd Boetticher

      Western/Non-Western Approaches: Refocus: The Films of Budd Boetticher by Gary D. Rhodes and Robert Singer (eds.)

      Justine Smith
      June 2017
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    • Trafic at 30, End of a Film Journal

      Emmanuel Bonin
      July 2022
    • 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
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      A Fistful of Dynamite/ Duck, You Sucker/ Giù la testa

      Justine Smith
      October 2003
      CTEQ Annotations on Film
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    • Shadows of Forgotten Ancestors (Sergei Parajanov, 1965)

      Wheeler Winston Dixon
      July 2022
    • 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
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Author Justine Smith

Justine Smith

Justine Smith is a freelance film writer who loves to talk about sex and horror.

An X-Rated Musical Comedy (1976)

Alice in Wonderland: An X-Rated Musical Comedy (Bud Townsend, 1976)

Justine Smith
March 2018
Alice in Wonderland
Blending absurdity and an off-putting childlike glee, in 1976 Bud Townsend adapted a Disney-esque “soft” hardcore porno musical of Alice in Wonderland. Produced by porn maverick Bill Osco of Flesh Gordon fame (...
Basma Alsharif

Ouroboros and the Cycle of Violence: An Interview with Basma Alsharif

Justine Smith
December 2017
Feature Articles
Ouroboros (2017), the feature debut of visual artist Basma Alsharif, begins with an extended drone shot from the ocean through Gaza that plays in reverse motion. From the point of view of a drone, into a home a...
Fantasia International Film Festival 2017

Fantasia International Film Festival

Justine Smith
September 2017
Festival Reports
As a festival grows in size and prominence, can it continue to maintain its identity? Slowly but surely, the Fantasia International Film Festival in Montreal has become one of the most important genre film fest...
Reflections in a Golden Eye

Reflections in a Golden Eye (John Huston, 1967)

Justine Smith
March 2017
Love Letters: 1967
Infused with an almost classical reverence for romanticism, the unfolding emotions and narratives at the heart of John Huston’s work always seemed tied intimately to their settings. The environment, more than j...

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