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    • Ginette Lavigne’s La belle journée

      Lindsay Henderson
      March 2012
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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
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    • Pom Bunsermvicha interview: “Being part of a family“

      Lindsay Henderson
      January 2022
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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

    • Interview with Albert Birney & Kentucker Audley

      Nolan Kelly
      May 2022

    • The Creative Leap to Fluid Consciousness: An Encounter with Ashley McKenzie

      Brigitta Wagner
      May 2022
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      Lindsay Henderson
      May 2002
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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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      Lindsay Henderson
      May 2022
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      Joy McEntee
      May 2022

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      Jeremy Carr
      May 2022

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      Mark Lager
      May 2022

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      Jessica Balanzategui
      January 2022
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      A Sample of the 2001 St. Kilda Film Festival Reviewed

      Lindsay Henderson
      June 2001
      Festival Reports
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      Madeleine Collier
      May 2022

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      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
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    • Declaring the ‘End’, Signaling a Renewal: The End of National Cinema: Filipino Films at the Turn of the Century, by Patrick Campos

      Lindsay Henderson
      October 2018
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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
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    • Beginnings

      Lindsay Henderson
      October 2010
      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 Lindsay Henderson

Lindsay Henderson

Lindsay Henderson studied at Durham University in England where she developed a particular interest in French and Italian films. She now lives in Sydney.

bay of angels

La Baie des Anges

Lindsay Henderson
March 2018
CTEQ Annotations on Film
La Baie des Anges (1963 France 85 minutes) Source: CAC/NLA Prod Co: Sud-Pacifique Films Prod: Paul-Edmond Decharme Dir, Scr: Jacques Demy Ph: Jean Rabier Ed: Anne-Marie Cotret Art Dir: Bernard Evein Mus:...
article placeholder

Helen, Queen of the Nautch Girls

Lindsay Henderson
May 2003
CTEQ Annotations on Film
Helen, Queen of the Nautch Girls (1970 USA 32 mins) Source: ACMI/NLA Prod Co: Merchant Ivory Productions Prod: Ismail Merchant Dir: Anthony Korner Scr: James Ivory Ed: Andrew Page From an Indian publi...
article placeholder

La Baie des Anges

Lindsay Henderson
July 2002
CTEQ Annotations on Film
La Baie des Anges (1963 France 85 minutes) Source: CAC/NLA Prod Co: Sud-Pacifique Films Prod: Paul-Edmond Decharme Dir, Scr: Jacques Demy Ph: Jean Rabier Ed: Anne-Marie Cotret Art Dir: Bernard Evein Mus:...

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