Western Martyn Bamber December 2023 CTEQ Annotations on Film The first thing you should know is that Western is not really a western. Just because a film features horses, guns and the great outdoors doesn’t me...
History and Oblivion: Radu Jude tells a “new” story an old way with Aferim! Shari Kizirian December 2023 CTEQ Annotations on Film From the opening moments of Romanian director Radu Jude’s Silver Bear-winning Aferim! (2015) we instantly recognize the cinematic terrain. In a low-co...
Silver City Grace Boschetti November 2023 CTEQ Annotations on Film Reflecting on her AFI-winning feature Silver City (1984) in her achingly intimate 2013 documentary Once My Mother, filmmaker Sophia Turkiewicz address...
The Golden Cage: Ayten Kuyululu and Australian Cinema Adrian Danks November 2023 CTEQ Annotations on Film A longer version of this article analysing The Golden Cage, A Handful of Dust, and Ayten Kuyululu’s career in more detail will appear in a forthcoming...
Twice a Man Darragh O’Donoghue November 2023 CTEQ Annotations on Film What are the right words to discuss this? - Stephen Dwoskin on Gregory Markopoulos Advance Guard artists are so far in advance of their audiences th...
A Rainha Diaba Mateus Nagime November 2023 CTEQ Annotations on Film Positive representation dominates the current debate around queer audiovisual media. But make no mistake, A Rainha Diaba (Antonio Carlos de Fontoura, ...
No longer lost, now remembered: A conversation with Rafael de Luna Freire about Antes, o Verão Eloise Ross November 2023 CTEQ Annotations on Film Gerson Tavares (1926-2021) made only a few films in a very rich period in Brazil’s history, circling around yet outside of the 1960s political preoccu...
The Red Light Bandit Guilherme Carréra November 2023 CTEQ Annotations on Film Some films outlive time. Although their year of production is located in the past, their energy spreads over decades, influencing filmmakers, resurfac...
It’s About Time We All Met a Happy End Cerise Howard November 2023 CTEQ Annotations on Film The “Czechoslovak film miracle” of the 1960s has long been synonymous with the Czechoslovak New Wave, a term principally applied to works produced by ...
Assault on the Pay Train Jeremy Lehnen November 2023 CTEQ Annotations on Film Assalto ao trem pagador (Assault on the Pay Train, 1962) was directed by Roberto Farias, produced by Herbert Richers and is a dramatisation of the Cen...
Heave Ho! Faith Everard November 2023 CTEQ Annotations on Film The rhythmic cogs of the machinery click and shuffle, a steady beat emerges with each press of the tin, each bubble of the milk. A behemoth of industr...
Czechoslovakia’s King and Queen of Comedy: Anny Ondra and Vlasta Burian in An Old Gangster’s Molls Shari Kizirian November 2023 CTEQ Annotations on Film The third film written by Josef Skružný and his nephew Elmar Klos to star Vlasta Burian, An Old Gangster’s Molls (Milenky starého kriminálníka, 1927) ...
A Entrevista and Meio-Dia, by Helena Solberg Fabio Andrade November 2023 CTEQ Annotations on Film Helena Solberg’s name has been featured in histories of Brazilian cinema primarily as an exception to the rule: she was the only female director assoc...
Tocaia no Asfalto Filipe Furtado November 2023 CTEQ Annotations on Film Cinema Novo, Brazil’s politically minded 1960s New Wave, is often discussed as a Rio de Janeiro movement, but there was also a rich scene in the early...
Classe Tous Risques Brad Weismann November 2023 CTEQ Annotations on Film The story begins and ends in the street. The protagonist first emerges from the crowd, wife and children in tow. By film’s end, he has vanished into t...
Scenes from a Manhunt – Panique Rolland Man November 2023 CTEQ Annotations on Film “If I were an architect and I had to build a monument to the cinema, I would place a statue of Julien Duvivier above the entrance”. These are the word...
Du rififi chez les hommes (Rififi) Martyn Bamber November 2023 CTEQ Annotations on Film Out of the worst crime novels I have ever read, Jules Dassin has made the best crime film I have ever seen. For the record, Dassin’s most famous film...
The Fading Kouros of Razzia sur la chnouf Grant Bromley November 2023 CTEQ Annotations on Film “How old are you?” Henri Ferré, Jean Gabin’s character in Henri Decoin’s Razzia sur la chnouf (1955), regularly asks women. One replies, "What do...
Macunaíma Gustavo Furtado October 2023 CTEQ Annotations on Film With vibrant tropical colours and a penchant for the grotesque, Macunaíma (1969) is a strange but delightful masterpiece of Brazilian cinema. Its crea...
Tomorrow I’ll Wake Up and Scald Myself with Tea Danica van de Velde September 2023 CTEQ Annotations on Film In 1976, Czech writer and scholar Antonín Jaroslav Liehm wrote a scathing appraisal of the current state of Czechoslovak cinema entitled “Triumph of t...
The Woman Suffers: South Australia’s greatest film production Stephen Gaunson September 2023 CTEQ Annotations on Film Having previously collaborated on twelve low-budget (short and feature) films together, by 1917 Raymond Longford and Lottie Lyell were now wanting to ...
The Sentimental Bloke Darragh O’Donoghue September 2023 CTEQ Annotations on Film Lottie Lyell had her work cut out when she agreed to appear as the love interest of The Sentimental Bloke (Raymond Longford, 1919). The film was, and ...
It Was Ildikó Enyedi’s 20th Century, and We Just Lived In It: My Twentieth Century (1989) Cerise Howard July 2023 CTEQ Annotations on Film Dualities and parallels abound in Ildikó Enyedi’s remarkable Az én XX. századom (My Twentieth Century, 1989), a singularly playful, magical realist, r...
Of What is Merata Mita/Mauri the Name? Simon Sigley July 2023 CTEQ Annotations on Film Mauri (1988) is the only feature-length fiction film that Merata Mita (1942–2010) made across her decades-long engagement with audio-visual narrative....
In Dreams: Ildikó Enyedi’s On Body and Soul (2017) Adrian Danks July 2023 CTEQ Annotations on Film Coming almost 30 years after Ildikó Enyedi’s extraordinary breakthrough feature, Az én XX. századom (My Twentieth Century, 1989), and 18 years since h...
The Last Musical Show: Peter Bogdanovich’s At Long Last Love (1975) Dana Polan June 2023 CTEQ Annotations on Film Throughout the New Hollywood of the late 1960s into the 1970s, two filmmaking desires of auteur directors (usually male) sometimes combined: to realis...
The Mysterious Authenticity of Peter Bogdanovich’s Saint Jack (1979) Ben Slater June 2023 CTEQ Annotations on Film There’s a scene in Saint Jack (Peter Bogdanovich, 1979) when Jack Flowers, played with charm and grace by Ben Gazzara, returns to the Singapore Chinat...
“Don’t you know the meaning of propriety?”: Screwball Comedy and Peter Bogdanovich’s What’s Up, Doc? (1972) Eloise Ross June 2023 CTEQ Annotations on Film Watch the trailer for What’s Up, Doc? (1972) and you are likely to learn quite a lot about the director, Peter Bogdanovich, and the era that the film ...
“Why Don’t You Love Me (Like You Used To Do)?”: Peter Bogdanovich’s The Last Picture Show (1971) Adrian Danks June 2023 CTEQ Annotations on Film It begins and ends outside the movies. Peter Bogdanovich’s sophomore feature, The Last Picture Show (1971), is a clear-eyed portrait of a small North ...
“Is that what I was afraid of?” New and Old Fears in Peter Bogdanovich’s Targets (1968) Jacob Agius June 2023 CTEQ Annotations on Film Peter Bogdanovich’s debut feature, Targets (1968), is a left-of-centre horror film that initially seems to stand out as an anomaly within his filmogra...
Days (Tsai Ming-liang, 2020) Jacob Agius May 2023 CTEQ Annotations on Film Rizi (Days, 2020) marked a return to narrative feature filmmaking for Taiwanese auteur Tsai Ming-Liang after an almost decade long sojourn making vide...
Afflictions of Pain and Desire: The River (Tsai Ming-liang, 1997) Alex Williams May 2023 CTEQ Annotations on Film A film crew is assembled at the bank of a river, struggling to make a mannequin look like a real dead body. The figure lies face-down in the grey wate...
The Wayward Cloud (Tsai Ming-liang, 2005) Amelia Leonard May 2023 CTEQ Annotations on Film Presenting as a bizarre jigsaw puzzle of slow cinema motifs, surrealist musical numbers, a looming climate crisis, and highly explicit sex, Tsai Ming-...
Goodbye, Dragon Inn (Tsai Ming-liang, 2003) Andrew Le May 2023 CTEQ Annotations on Film People our age have the collective experience of moviegoing, but today the experience is different with DVD, satellite, etc. You see these major chang...
The Skywalk is Gone (Tsai Ming-liang, 2002) Digby Houghton May 2023 CTEQ Annotations on Film Tsai Ming-Liang’s Tian qiao bu jian le (The Skywalk is Gone, 2002; Skywalk from here on) is a short film bridging his previous and subsequent features...
What Time is it There? (Tsai Ming-liang, 2001) Jessica Balanzategui May 2023 CTEQ Annotations on Film The turn of the 21st century in Taiwan was marked, as in most countries, by intense fears of the “millennium bug”. This “Y2K” bug would supposedly lea...
