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  • Dossiers
  • Features
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    • Polish documentary

      Affect, Identification and Communion: The New Generation of Polish Documentary

      Victor Guimarães
      December 2016
      Feature Articles
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    • 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
    • More than Mimicry: On Puppets and Interdependency in Annette and The Double Life of Véronique

      Indigo Bailey
      January 2023
    • After Structural Film: The Conceptual films of Morgan Fisher

      Arindam Sen
      January 2023
    • This Body Keeps the Score: the films of Saidin Salkic

      Dirk de Bruyn
      January 2023
  • Interviews
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      Interview with Kal Ng

      Victor Guimarães
      November 2000
      Interviews
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    • Splice Here A Projected Odyssey: An Interview with Rob Murphy

      Tara Judah
      January 2023
    • Piaffe: Interview with Ann Oren

      Maria Giovanna Vagenas
      January 2023
    • Flesh Memories: Yeo Siew Hua’s Expanded Cinema in The Once and Future

      Toby Wu
      January 2023
    • In Search of Lost Time: An Interview with Christophe Honoré

      David A. Gerstner
      January 2023
    • Slow Fireworks: The Films of Amy Halpern

      Arindam Sen
      January 2023
    • About Time: Interview with Cyril Schäublin

      Hamed Sarrafi
      January 2023
  • Great Directors
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    • Scott, Tony

      Victor Guimarães
      October 2020
      Great Directors
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    • Fosse, Bob

      Sherry Johnson
      January 2023
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      Giampiero Frasca
      January 2023
    • Sorrentino, Paolo

      Jeremy Carr
      October 2022
    • Craven, Wes

      Hal Young
      October 2022
    • Dwoskin, Stephen

      Sara Delshad
      October 2022
    • Smith, Jack: Travails of an Underground Artist

      Sanya Osha
      May 2022
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    • Garbo, Greta

      Victor Guimarães
      May 2022
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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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      Mark Lager
      May 2022
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      Jessica Balanzategui
      January 2022
  • Festival Reports
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      BAFICI at 10: Smoke Gets in Your Eyes: The 10th Buenos Aires Festival Internacional de Cine Independiente

      Victor Guimarães
      August 2008
      Festival Reports
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    • Fire Within: The 60th Viennale

      Leonardo Goi
      January 2023
    • A Report on the Exhibition Threshold (works by Dirk de Bruyn, Guy Grabowsky & Mat Hughes)

      Glenn D'Cruz
      January 2023
    • Politics, Isolation, Pandemic: The 35th Tokyo International Film Festival

      Kohei Usuda
      January 2023
    • The Kids Aren’t Alright: The 27th Busan International Film Festival

      Marc Raymond
      January 2023
    • Small but Mighty, the Power of the Donkey: Adelaide International Film Festival

      Saige Walton
      January 2023
    • All the Pain and Exploitation: 66th London Film Festival

      Tara Judah
      January 2023
  • Book Reviews
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    • New Zealand Cinema: Interpreting the Past, edited by Alistair Fox, Barry Keith Grant, and Hilary Radner

      Victor Guimarães
      March 2012
      Book Reviews
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    • 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
    • Do we need Digital Tarkovsky?

      Corey P. Cribb
      October 2022
    • Trafic at 30, End of a Film Journal

      Emmanuel Bonin
      July 2022
  • CTEQ
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      The Stranger

      Victor Guimarães
      December 2003
      CTEQ Annotations on Film
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    • I Remember: Amarcord (Federico Fellini, 1973)

      Jacob Agius
      February 2023
    • The Lure (Agnieszka Smoczyńska, 2015)

      Faith Everard
      December 2022
    • Othering Heights: The Queerest of the Queer in Rosa von Praunheim’s City of Lost Souls (1983)

      Cerise Howard
      December 2022
    • 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
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Author Victor Guimarães

Victor Guimarães

Victor Guimarães is a Brazilian film critic, programmer and professor. He is one of the editors of Revista Cinética (Brazil) and a columnist for Con los ojos abiertos (Argentina).

Unearthing Cinema, Learning to Breathe

Victor Guimarães
May 2021
What Will Become of Cinema? Postcards for the Future
Translated from the Argentinian Spanish by César Albarrán-Torres The pandemic has had a very specific impact in cinema. At one point in its history – and it could have very well not been the case – cinema wa...
Tiradentes Film Festival review 2015

Neighbourhood Realisms and the Return of Utopia: a Dive into the Effervescence of Contemporary Brazilian Cinema

Victor Guimarães
June 2015
Festival Reports
Brazilian cinema is at a turning point, as much in terms of aesthetic experimentation as it is in terms of international recognition. In relation to the latter, the presence of good Brazilian films in the most ...

Inhabiting the Borderline: Freedom and Indetermination at the 1st Fronteira – International Documentary and Experimental Film Festival

Victor Guimarães
December 2014
Festival Reports
The creation of an international festival dedicated to documentary and experimental cinema in Goiânia is, somehow, like opening a narrow trail in a virgin forest and putting a post on it. Goiânia is a city posi...

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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Editors:

César Albarrán-Torres • Amanda Barbour • Tara Judah • Abel Muñoz-Hénonin • Fiona Villella

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