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    • The Art of Murder: What We Have to Learn from The House That Jack Built

      Tanner Tafelski
      March 2019
      Feature Articles
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    • Film Criticism and the Grotesque: A Very American Tár & an Oz Elvis

      Laleen Jayamanne
      August 2023
    • The aesthetics and politics of melodrama, reconsidered: Delitto d’amore / Crime of Love

      Thomas Austin
      August 2023
    • 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
  • Interviews
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    • “Can You Prefigure Reality?”: A Conversation with Christoph Hochhäusler on his new film, Bis ans Ende der Nacht (Till the End of the Night)

      Tanner Tafelski
      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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      C.S. Harper
      August 2023
    • A Cinematic Sojourn to the Land of Awe and Astonishment: Interview with Laura Citarella about El Pampero Cine and Trenque Lauquen

      Hamed Sarrafi
      August 2023
    • Here: An Interview with Bas Devos

      Maria Giovanna Vagenas
      May 2023
    • A Different Kind of Love Story: An Interview with Dustin Guy Defa

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

      Maja Korbecka
      May 2023
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      Tanner Tafelski
      July 2013
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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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      Jeremy Carr
      October 2022
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      Hal Young
      October 2022
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      Tanner Tafelski
      August 2023
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      Wheeler Winston Dixon
      May 2023
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      Jacob Agius
      October 2022
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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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      Mark Lager
      May 2022
  • Festival Reports
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    • Normality: The 2022 Cannes Film Festival

      Tanner Tafelski
      August 2022
      Festival Reports
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    • Towards A Domestic Cinephilia: The 24th Jeonju International Film Festival

      Marc Raymond
      August 2023
    • Direct Cinephilia: Play-Doc 2023

      Fedor Tot
      August 2023
    • Stardust chronicle, a report from the 69th Internationale Kurzfilmtage Oberhausen

      Arindam Sen
      August 2023
    • Rising from the ashes: The 47th Hong Kong International Film Festival

      Maja Korbecka
      August 2023
    • The 22nd Transilvania International Film Festival: Open-world Stimulations

      Peter Virginas
      August 2023
    • Searching for Eros: the 76th Cannes Film Festival

      Savina Petkova
      August 2023
  • Book Reviews
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      Claire Denis by Martine Beugnet

      Tanner Tafelski
      October 2005
      Book Reviews
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    • 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
    • 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
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      Removed and The Morphology of Desire

      Tanner Tafelski
      September 2001
      CTEQ Annotations on Film
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    • Czechoslovakia’s King and Queen of Comedy: Anny Ondra and Vlasta Burian in An Old Gangster’s Molls (Svatopluk Innermann, 1927)

      Shari Kizirian
      September 2023
    • It’s About Time We All Met a Happy End (Oldřich Lipský, 1967)

      Cerise Howard
      September 2023
    • Heave Ho! (Martin Frič, 1934)

      Faith Everard
      September 2023
    • Tomorrow I’ll Wake Up and Scald Myself with Tea (Jindřich Polák, 1977)

      Danica van de Velde
      September 2023
    • The Woman Suffers: “South Australia’s greatest film production” (Raymond Longford, 1918)

      Stephen Gaunson
      September 2023
    • The Sentimental Bloke (Raymond Longford, 1919)

      Darragh O’Donoghue
      September 2023
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Author Tanner Tafelski

Tanner Tafelski

Tanner Tafelski is an MA student at New York University. He is also a freelance critic who has written for Afterimage, Brooklyn Magazine, Desistfilm, Film Comment, Hyperallergic, Indiewire, and MUBI Notebook.

Digging for Gold: To Save and Project: The 17th MoMA International Festival of Film Preservation

Tanner Tafelski
April 2020
Festival Reports
In a city bursting with monthly repertory programming, the Museum of Modern Art’s To Save and Project series stands out as an annual must-attend event for cinephiles. Curators Dave Kehr, Katie Trainor and Ron M...

The Marginal and the Misplaced: To Save and Project: The 16th MoMA International Festival of Film Preservation

Tanner Tafelski
March 2019
Festival Reports
In this day and age, to watch an older movie, or really any movie, is to watch a digital copy – a file code made up of ones and zeros. That is to say, unless you’re living in a city with a thriving and dedicate...
True Grit

Straight Shooting: Joel and Ethan Coen’s True Grit (2010)

Tanner Tafelski
March 2017
CTEQ Annotations on Film
True Grit (2010) sticks out in Joel and Ethan Coen’s body of work. It’s a black sheep. They leech the film of irony and nihilism. They dial down their condescension of and cruelty towards their characters. They...
3 Women

Dream Baby Dream: Robert Altman’s 3 Women (1977)

Tanner Tafelski
March 2016
CTEQ Annotations on Film
“I had a dream last night,” says a boy. “We had the same dream,” an oddly similar voice replies. Renowned ambient musician, Geir Jensen, using the moniker of Biosphere, loops this exchange in his spectral and c...

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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