Author Nicholas Bugeja

The bus driver (Ken Uehara) at the heart of Mr Thank You derives his eponymous sobriquet from what he says to those roving through rural Japan when they let his bus pass. “Thank you,” the bus driver invariably ...

In Hiroshi Shimizu’s 1941 film, the titular object of the ornamental hairpin firmly holds the story in place; the lynchpin of it, so to speak. On a fateful day at an isolated yet serene rural inn, Mr Nanmura (C...

The bulk of Ivan Sen’s cinematic oeuvre – documentary and fiction (not that there is always great disparity between the two) – converges around a set of core themes: the intractable legacy of British colonialis...

A dead Indigenous girl, no more than 16 years of age, is discovered in a drain underneath a highway in the aptly named Massacre Creek area. The drain is flanked by the wide, impossible expanses of outback Austr...

In the cinema, the long take is an instrument of multifaceted – sometimes paradoxical – power. In a film like Ladri di Biciclette (Bicycle Thieves, Vittorio de Sica, 1948) or Deux jours, une nuit (Two Days, One...

The principal discovery being made by Taiwanese directors is their own history This new field of inquiry must negotiate the coexistence of colonizer with colonized; Confucianism with capitalism, democracy, an...

Makavejev aims to tear down and rebuild the basic blocks of moviemaking itself. Toggling easily, even imperceptibly, between fiction and documentary, his films can appear to be vérité portraits of everyday life...