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      Max Ophuls: A New Art – But Who Notices?

      Oloruntoba John Olubunmi
      October 2002
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    • “A long time ago….”: The Persistence and Longevity of ‘Star Wars’ at 45

      Tara Lomax
      October 2022

    • The Larrikin Girl: Challenging archetypes in Australian cinema

      Mark Freeman & Eloise Ross
      October 2022

    • Unrealisable woman: Tania in Stanley Kubrick’s Aryan Papers

      Joy McEntee
      October 2022

    • Anatomy of a Breakup or Her Life to Fix: The Worst Person in the World

      Salvador Carrasco
      October 2022

    • Respecting the Lives of Others: Bergman Island, Hommage and Anaïs in Love

      Anthony McKibbin
      August 2022

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

      Will Hair
      July 2022
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    • “The Act of Filming is an Inner and Physical Journey in Itself”: Interview with Helke Misselwitz

      Oloruntoba John Olubunmi
      May 2022
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      Andrew Northrop
      October 2022

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      Maria Giovanna Vagenas
      October 2022

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      Maja Korbecka
      July 2022

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      Maria Giovanna Vagenas
      July 2022

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      Savina Petkova
      May 2022

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      Silvia Spitta & Gerd Gemünden
      May 2022
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      Oloruntoba John Olubunmi
      December 2011
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      Jeremy Carr
      October 2022

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      Hal Young
      October 2022

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      Sara Delshad
      October 2022

    • Smith, Jack: Travails of an Underground Artist

      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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      Oloruntoba John Olubunmi
      May 2022
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      Jacob Agius
      October 2022

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      Joy McEntee
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      Wheeler Winston Dixon
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      Jeremy Carr
      May 2022

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      Jessica Balanzategui
      January 2022
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      53rd Locarno International Film Festival Reviewed

      Oloruntoba John Olubunmi
      September 2000
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      Levan Tskhovrebadze
      October 2022

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      Nolan Kelly
      October 2022

    • Budapest Classics Film Marathon

      Andrew Northrop
      October 2022

    • Setting the World Ablaze: Notes from the 30th Curtas Vila do Conde International Film Festival

      Susana Bessa
      October 2022

    • The 75th Locarno Film Festival: Happy Birthday and Many Happy Returns

      Jaimey Fisher
      October 2022

    • (Fist) Bump in the Night at Fantasia 2022

      Jake Pitre
      October 2022
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      For Criticism (Again): Movie Love in the Fifties by James Harvey

      Oloruntoba John Olubunmi
      July 2004
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    • Philosophy for the Blockbuster Audience: Christopher Nolan: Filmmaker and Philosopher, by Robbie B. H. Goh

      Tom Boniface-Webb
      October 2022

    • Do we need Digital Tarkovsky?

      Corey P. Cribb
      October 2022

    • 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
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      Street of Shame

      Oloruntoba John Olubunmi
      October 2004
      CTEQ Annotations on Film
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    • To walk away, you gotta leave something behind, or a long story short: Hedwig and the Angry Inch (2001)

      Cerise Howard
      December 2022

    • Lost Paradise: F.W. Murnau’s Tabu: A Story of the South Seas (1931)

      Andréas Giannopoulos
      November 2022

    • Nosferatu: Eine Symphonie des Grauens (Nosferatu: A Symphony of Horror, F.W. Murnau, 1922)

      Martyn Bamber
      November 2022

    • Sunrise: A Song of Two Humans (F.W. Murnau, 1927)

      Jacob Agius
      October 2022

    • Die Finanzen des Großherzogs (The Grand Duke’s Finances, F.W. Murnau, 1924)

      Jonathan Mackris
      October 2022

    • A Dream of Light and Dark – F.W. Murnau and Faust

      David Melville
      October 2022
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more articles... more articles... more articles... more articles... more articles...

Author Oloruntoba John Olubunmi

Oloruntoba John Olubunmi

Bunmi Oloruntoba is currently completing a M.F.A in scriptwriting at Regent University, Virginia Beach. He lies awake at night wondering why kamikaze pilots wore helmets.

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Summer Holiday

Oloruntoba John Olubunmi
July 2004
CTEQ Annotations on Film
Summer Holiday (USA 1948 92 mins) Source: NLA/ACMI Prod Co: MGM Prod: Arthur Freed Dir: Rouben Mamoulian Scr: Frances Goodrich, Albert Hackett, Irving Brecher, Jean Holloway, from Eugene O'Neill's play A...
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The Atomic Cafe

Oloruntoba John Olubunmi
April 2004
CTEQ Annotations on Film
The Atomic Cafe (1982 USA 92 mins) Source: Sharmill Films Prod Co: The Archives Project Prod, Dir: Jayne Loader, Kevin Rafferty, Pierce Rafferty Ed: Jayne Loader, Kevin Rafferty Sound: Marge Crimmins ...
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Il Bell’Antonio

Oloruntoba John Olubunmi
April 2004
CTEQ Annotations on Film
Il Bell'Antonio (1960 Italy 104 mins) Source: ScreenSound Australia Prod Co: Arco/Cino del Duca/Societé Cinématographique Lyre Prod: Alfredo Bini Dir: Mauro Bolognini Scr: Pier Paolo Pasolini, Gino Visen...

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