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      Mike Leigh, Topsy-Turvy and the Excavation of Memory

      Olaf Möller
      October 2005
      Feature Articles
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    • Horse-People and White Voices: Neoliberalism and Race in Sorry to Bother You

      Thomas Austin
      May 2023
    • The Exorcism of Sinister Ghosts: Saralisa Volm’s The Silent Forest

      Peter Verstraten
      May 2023
    • Spectatorial Labour: The Political Vision of Sergei Loznitsa’s Documentaries

      Santasil Mallik
      May 2023
    • When Knowledge Takes Over Action: A Narrative Analysis of Three Georgian Conflict-Sensitive Films: The Other Bank, Tangerines, and Corn Island

      Khatuna Maisashvili
      January 2023
    • Values of Baz Luhrmann’s Elvis: A Carnival Ride

      Laleen Jayamanne
      January 2023
    • Fellini’s Memory: Amarcord

      Bruce Jackson
      January 2023
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    • “You don’t get to hate it unless you love it”: Joe Talbot and Jimmie Fails on The Last Black Man in San Francisco

      Olaf Möller
      October 2019
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    • A Different Kind of Love Story: An Interview with Dustin Guy Defa

      Brigitta Wagner
      May 2023
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      Maria Giovanna Vagenas
      May 2023
    • Family as a Film Collective: An interview with Huang Ji and Ryûji Otsuka

      Maja Korbecka
      May 2023
    • Biting comedy: An Interview with Japanese director Hyûga Fumiari

      Purple Romero
      May 2023
    • When in Love, Make a Film: Interview with Alexandre O. Philippe

      Hamed Sarrafi
      May 2023
    • Korean Chinese, Borderland, and Transborder Encounters: A Conversation with Zhang Lu

      Yanjie Wang
      May 2023
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      Olaf Möller
      October 2005
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      Jeremy Carr
      May 2023
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      Benjamin Kooyman
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      Sherry Johnson
      January 2023
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      Giampiero Frasca
      January 2023
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      Jeremy Carr
      October 2022
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      Hal Young
      October 2022
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      Olaf Möller
      May 2023
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      Jacob Agius
      October 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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    • “Fulgurant Jolts”: The 66th Cannes Film Festival

      Olaf Möller
      June 2013
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    • Generational Feminisms: the 45th Festival International de Films de Femmes

      Sian Mitchell
      May 2023
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      Carmen Gray
      May 2023
    • CPH:DOX 2023: At World’s End

      Will DiGravio
      May 2023
    • Punto de Vista 2023: Dust No Longer Clouds Our Eyes

      Jay Kuehner
      May 2023
    • All the world’s a stage IFFR Critics’ Choice 9: PLAY

      Tara Judah
      May 2023
    • Sundance 2023 – Hybridity and Transgressive Heroes

      Bérénice Reynaud
      May 2023
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      Hitchcock’s Cryptonymies, Volume 1: Secret Agents by Tom Cohen

      Olaf Möller
      February 2006
      Book Reviews
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    • 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
    • For a Double-Edged Theory: Christian Metz’ Essais sur la signification au cinéma at 50

      Abel Muñoz Hénonin
      January 2023
    • Dennis Lim’s Tale of Cinema: A Meta-Monograph

      Marc Raymond
      January 2023
    • In search of a Global Filipino Auteur: Sine ni Lav Diaz, edited by Parichay Patra and Micheal Kho Lim

      Pujita Guha
      January 2023
    • Philosophy for the Blockbuster Audience: Christopher Nolan: Filmmaker and Philosopher, by Robbie B. H. Goh

      Tom Boniface-Webb
      October 2022
  • CTEQ
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    • Hail the Conquering Hero (Preston Sturges, 1944)

      Olaf Möller
      January 2022
      CTEQ Annotations on Film
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    • Days (Tsai Ming-liang, 2020)

      Jacob Agius
      May 2023
    • Afflictions of Pain and Desire: The River (Tsai Ming-liang, 1997)

      Alex Williams
      May 2023
    • The Wayward Cloud (Tsai Ming-liang, 2005)

      Amelia Leonard
      May 2023
    • Goodbye, Dragon Inn (Tsai Ming-liang, 2003)

      Andrew Le
      May 2023
    • The Skywalk is Gone (Tsai Ming-liang, 2002)

      Digby Houghton
      May 2023
    • What Time is it There? (Tsai Ming-liang, 2001)

      Jessica Balanzategui
      May 2023
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Author Olaf Möller

Olaf Möller

Olaf Möller is a German critic, professor and programmer.

Being Together

Olaf Möller
May 2021
What Will Become of Cinema? Postcards for the Future
In the very midst of Covid-19's early panic days, I went for the first time ever to a drive-in theatre; a friend of mine took me there, in good parts because she couldn't believe that the man who'd seemingly se...

Great Expectations – Fulfilled: The 11th Far East Film Festival

Olaf Möller
September 2009
Festival Reports

Silver Linings: The Diagonale Festival of Austrian Film

Olaf Möller
July 2009
Festival Reports
  17-22 March 2009 In the years since the Emergency Diagonale and the festival’s defence at the hands of Austria’s filmmaking community against a coup attempt by the government, the country’s second-...
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Of Common Happiness and Sorrow: The 10th Udine Film Festival

Olaf Möller
August 2008
Festival Reports
18–26 April 2008 Udine’s Far East Film Festival celebrated its tenth anniversary in the only style honourable and becoming: by simply performing its function as fine as ever, resulting in a program gener...
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Lost Poetics Past: The 50th International Leipzig Festival for Documentary and Animated Film

Olaf Möller
March 2008
Festival Reports
29 October – 4 November 2007 The main reason I went to the Leipzig International Festival for Documentary and Animated Films this year was the retrospective: the festival turned 50, something like 20 pro...
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Cinema. A Stream: The 9th Udine Far East Film Festival

Olaf Möller
October 2007
Festival Reports
20-29 April 2007 Udine’s Far East Film Festival remains a gathering place of choice for those truly serious about East and Southeast Asian cinemas: for those who really care about the cultures – right or...
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Film Culture… and How to Make a Festival of It!: The 24th Torino Film Festival

Olaf Möller
February 2007
Festival Reports
10–18 November 2006 The Torino Film Festival is quite comfortable with being the No. 2 among Italy’s main events in cinema: it has just about all the respect granted Venice but few of the Biennale’s prob...
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Ihr kleines Österreich: Wurscht, the World: Diagonale Festival of Austrian Film, Graz

Olaf Möller
July 2006
Festival Reports
March 21–26, 2006 After the screening of Florian Flicker’s No Name City (2006), basically everybody at the Diagonale’s opening agreed that this tall verité tale about the internal troubles’n’struggles in...
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Asia the Mighty, Asia da Rude: Places of Plenty: The 8th Far East Film Festival of Udine

Olaf Möller
July 2006
Festival Reports
April 21–29, 2006 “No to Chinese Goods”, howled a cluster of Lega Nord-campaign posters from a downtown Udine wall when on the 21st of April the 8th Far East Film Festival opened in Friuli’s main city. T...
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Ambiguous Adventures: The 23rd Torino Film Festival

Olaf Möller
February 2006
Festival Reports
November 11–19, 2005 In the last few years, the Torino Film Festival (originally called Cinema Giovani) has gained something of an international reputation as one of Europe film culture’s Must-Attend Eve...
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Passage along the Shadow-Line: Farocki and Others – Approaching a Certain Filmkritik-style

Olaf Möller
July 2002
Harun Farocki
Möller affectionately discusses the films, writing and philosophy of the cineastes who wrote for German film magazine, Filmkritik, a culture or 'movement' strong enough to rival Cahiers.

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.

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