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      Barbara Steele’s Ephemeral Skin: Feminism, Fetishism and Film

      Maria Giovanna Vagenas
      October 2002
      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
    • Consensus Empire: Empowering the Spectator through Letterboxd Reviews

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

      Aryan Tauqeer Khawaja
      November 2023
    • Situating Lucile Hadžihalilović’s Good Boys Use Condoms

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

      Frankie Kanatas
      November 2023
    • Film Criticism and the Grotesque: A Very American Tár & an Oz Elvis

      Laleen Jayamanne
      August 2023
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    • The Klezmer Project (Adentro Mío Estoy Bailanado): A Conversation with Leandro Koch and Paloma Schachmann

      Maria Giovanna Vagenas
      August 2023
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    • An Interview with Delphine Girard

      Gary M. Kramer
      November 2023
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      Mike Hoolboom
      November 2023
    • Mapping Global Horror: Academic roundtable

      Amanda Barbour
      November 2023
    • Mapping Global Horror: Filmmaker roundtable

      Amanda Barbour
      November 2023
    • Our Body is a Battleground: An Interview with Claire Simon

      Öykü Sofuoğlu
      November 2023
    • “Irritation Is the Most Important Tool Any Artist Has”: An Interview with Jessica Hausner

      Jaimey Fisher & Gerd Gemünden
      November 2023
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      Maria Giovanna Vagenas
      July 2019
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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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      Maria Giovanna Vagenas
      October 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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      Joy McEntee
      May 2022
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      Wheeler Winston Dixon
      May 2022
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      Jeremy Carr
      May 2022
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      The 25th Hong Kong International Film Festival - A Report

      Maria Giovanna Vagenas
      June 2001
      Festival Reports
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    • In Search of Indie’s Soul: Chinese Independent Cinema Today and Beyond

      Xiang Fan
      November 2023
    • Amiko haunts the 23rd Nippon Connection

      Roger Macy
      November 2023
    • Notes From The 26th San Francisco Silent Film Festival

      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
  • Book Reviews
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      Trafic Issue No. 41: Hitchcock/Lang (Printemps 2002)

      Maria Giovanna Vagenas
      January 2003
      Book Reviews
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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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      Flaming Creatures

      Maria Giovanna Vagenas
      July 2002
      CTEQ Annotations on Film
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    • 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
    • No longer lost, now remembered: A conversation with Rafael de Luna Freire about Antes, o Verão

      Eloise Ross
      November 2023
    • The Red Light Bandit

      Guilherme Carréra
      November 2023
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Author Maria Giovanna Vagenas

Maria Giovanna Vagenas

Maria Giovanna Vagenas is a curator and film critic based in Paris.

Groundbreaking Cinephilia: A Conversation with Julien Rejl, Artistic Director of the Directors’ Fortnight

Maria Giovanna Vagenas
November 2023
Interviews
With a gaze that radiates a dreamy but determined freshness, the beautiful Leonor Silveira in Manoel de Oliveira's Abraham's Valley (Vale Abraão, 1993) graces the poster of this 55th edition of the Directors’ F...

The Klezmer Project (Adentro Mío Estoy Bailanado): A Conversation with Leandro Koch and Paloma Schachmann

Maria Giovanna Vagenas
August 2023
Interviews
In the maze of a major festival event such as the Berlinale, The Klezmer Project, a debut feature by Argentinian filmmakers Paloma Schachmann and Leandro Koch, which premiered in the Encounters section, emerged...

Here: An Interview with Bas Devos

Maria Giovanna Vagenas
May 2023
Interviews
With Here, his fourth feature film and winner of the Encounters and the Fipresci Award at the 73rd Berlinale, the Belgian director Bas Devos creates a luminous, delicate, and subtle film that inspires awe. Thro...

Afterwater: A Conversation with Dane Komljen

Maria Giovanna Vagenas
March 2023
Interviews
Afterwater, conceived, directed and edited by Dane Komljen, is both as limpid as the water of the lakes that appear in it, and as complex as their, often, unfathomable depths. With an inventive, sensitive appro...

Piaffe: Interview with Ann Oren

Maria Giovanna Vagenas
January 2023
Interviews
Piaffe, Ann Oren's astonishing first feature film presented in competition at Locarno Film Festival 2022, bestows us with that same enchantment that early cinema viewers must have experienced going to the movie...

Love Dog: Conversation with Bianca Lucas

Maria Giovanna Vagenas
October 2022
Interviews
Intimate, sensitive and poetic, Love Dog, Bianca Lucas' surprising first feature film, shot in Natchez, Mississippi, portrays John, a young man mourning the sudden loss of his partner; a personal grief meaningf...

The Plains: Conversation with David Easteal

Maria Giovanna Vagenas
July 2022
Interviews
In The Plains, David Easteal’s astonishing feature debut, we are invited to virtually take a place in the back seat of the car of the protagonist, a middle-aged lawyer named Andrew Rakowski, a real-life person,...

Thessaloniki International Film Festival: Rewriting the Rules of the Game

Maria Giovanna Vagenas
February 2022
Festival Reports
Inventive and sassy – one of the best in a long time – 2021's TIFF poster featuring Mrs. Tependris in her pink overall, kicking off the event with a clapperboard, perfectly evoked the spirit of this 62nd editio...

Towards New Horizons: The 74th Locarno Film Festival

Maria Giovanna Vagenas
October 2021
Festival Reports
This summer the Locarno Film Festival and its Piazza Grande finally got their colours back. The giant screen in the piazza lit up again and the public flocked enthusiastically to its legendary screenings under ...

Rediscovering the Forgotten Gems of a Decade: Austrian Auteurs of the 1970s at the Viennale

Maria Giovanna Vagenas
May 2021
Festival Reports
The 2020 Viennale was an extraordinary and memorable event. Carried by the courage, conviction and tenacity of its director Eva Sangiorgi and her team, the festival was held in cinemas throughout the city of Vi...

Locarno 2020: The Open Doors Experience

Maria Giovanna Vagenas
October 2020
Festival Reports
Because of COVID-19, the structure of the 74th Locarno Film Festival was rethought. Under the motto “For the future of films” and opting for a hybrid form, Lily Hinstin and her team proposed a limited number of...

Back to Basics: The New Spirit of Cinéma du Réel

Maria Giovanna Vagenas
July 2019
Festival Reports
In Paris, during the grey and wintry month of March, dazzling colours and geometric patterns on the famous glass and steel façade of the Centre Pompidou announced the Vasarely exhibition on the building’s top f...

The Frame as a Border: Defining Cinema’s Political Territories at the 56th Viennale

Maria Giovanna Vagenas
December 2018
Festival Reports
In mid-October, slender, elegant pink flamingos appeared on the walls of buildings in the monumental and austere centre of the Austrian capital, announcing the imminent opening of one of the city's most importa...

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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