Late Style, Ruminations on Grief and Gothic Minimalism in Francis Ford Coppola’s Twixt. Oliver Parker May 2024 Feature Articles “There is therefore an inherent tension in late style that abjures mere bourgeois aging and that insists on the increasing sense of apartness and exil...
Beyond Words – Existential Agency in Women Talking Aazka K. V. Patel May 2024 Feature Articles Women Talking is a 2022 film written and directed by Sarah Polley based on the 2018 Canadian novel of the same name written by Miriam Toews. The premi...
Voyage to the End of the Universe: Aniara (2018) Wheeler Winston Dixon May 2024 Feature Articles In the distant future — say, the year 3000 or so — the Earth has been decimated by war, famine, disease, social collapse, pollution, and rampant lawle...
Occluded Wales: The Haunted Ground of Joanna Hogg’s The Eternal Daughter Alix Beeston & Robert Lloyd May 2024 Feature Articles The fog slowly dissipates to reveal a quiet country lane circled by gnarly trees. A taxi comes around the bend, the warmth of its headlights barely pe...
A Deafening Complicity in The Zone of Interest Jill Barkman May 2024 Feature Articles Near the beginning of Jonathan Glazer’s The Zone of Interest, the lead character, Hedwig (Sandra Hüller), tries on a fur coat. She is in her bedroom, ...
Fight the Power: Animated Art and Resistance Jennifer Lynde Barker May 2024 Feature Articles “Make everybody see/in order to fight the powers that be…” - Public Enemy, “Fight the Power” (1989) “And where does the power come from, to see t...
A Faithful Heart: Photogénie and Impressionistic Strategies in Terrence Malick’s Knight of Cups M. Sellers Johnson May 2024 Feature Articles Introduction Terrence Malick studies have circulated with considerable attention over the past two decades. Prevailing scholarship attends to Malick’...
The Hidden Force: Dutch Films about the Colonial Past in the East Indies Peter Verstraten May 2024 Feature Articles When, some thirty years ago, I attended a preview of the Dutch documentary Tabee Toean (Thom Verheul, 1995) at a conference held in Amsterdam, the non...
No Unknown Soldiers… Dina Iordanova May 2024 Feature Articles Acknowledgments I would like to thank Prof. Vitaly Chernetsky for his encouragement and assistance with writing this piece. All images used as illu...
A look at ‘invisible’ Indian cinema: Pariah and I Am Not The River Jhelum Jon Jost May 2024 Feature Articles Pariah (Riddhi Majumder, 2020) As occasionally happens with me, a few years back I was sent a film to look at by someone I did not know. It was from ...
Echoes of Illusions: Mythical Reverberations: Exploring Folklore and Ta’zieh in Ballad of Tara Amir Hossein Siadat January 2024 Feature Articles Cherike-ye Tārā (Ballads of Tara, 1979), the fourth feature film by Bahram Beyzaie,[1. For more information about Bahram Bayzaei's career, refer to: S...
Cinema and Guerrilla: An Incomplete Biography of the Film Iracema – Uma Transa Amazônica Orlando Senna January 2024 Feature Articles Translated from Portuguese by Matt Losada. This text originally appeared in Revista Piauí, no. 180, September 2021. Translated and reprinted here w...
The Future Made and Unmade: Andrew Legge’s LOLA (2021) Wheeler Winston Dixon January 2024 Feature Articles In 1941, during World War II, two sisters in Great Britain, Thomasina “Thom” Hanbury (Emma Appleton) and Martha “Mars” Hanbury (Stefanie Martini), inv...
Looking to the other side: Dismantlement and reimposition of borders in Sicario and The Three Burials of Melquiades Estrada Callum McGrath January 2024 Feature Articles Introduction Recent political events, such as the “Title 42” expulsions, have led to growing prominence in United States-Mexico border discourses. Th...
A Face in the Crowd: Ritual, Mythological and Political contexts in Stranger and the Fog Amir Hossein Siadat November 2023 Feature Articles Renowned as one of Iran's most esteemed cultural and artistic personas, Bahram Beyzaie's depth of knowledge in theatre is unparalleled. He is both an ...
Consensus Empire: Empowering the Spectator through Letterboxd Reviews Tyler Thier November 2023 Feature Articles There was an independent cinema in Folly Beach, South Carolina, that was showing Good Time (Josh and Benny Safdie, 2017). A film set in the marginal s...
We Can’t Save The Victims: Hauntology in Tony Scott’s Déjà Vu Aryan Tauqeer Khawaja November 2023 Feature Articles “To haunt does not mean to be present, and it is necessary to introduce haunting into the very construction of a concept” - (Specters of Marx: The...
Situating Lucile Hadžihalilović’s Good Boys Use Condoms Oliver Kenny November 2023 Feature Articles An explicit didactic short about a threesome with identical twin sisters, Good Boys Use Condoms (1998) provides a fascinating insight into Lucile Hadž...
Songs of Joy and Melancholy: On My Darling in Stirling Frankie Kanatas November 2023 Feature Articles Every cinephile has at least one formative film where the mere mention of the title functions as a time machine, transporting the individual back to t...
Film Criticism and the Grotesque: A Very American Tár & an Oz Elvis Laleen Jayamanne August 2023 Feature Articles Cate Blanchett: “There’s so much to talk about.” Todd Field: “There’s a lot to talk about.” CB: “In fact, it’s very hard to pin the movie down, whic...
The aesthetics and politics of melodrama, reconsidered: Delitto d’amore / Crime of Love Thomas Austin August 2023 Feature Articles This article has been peer reviewed Two lovers walk in silence along a riverbank. They are framed in a long shot, on a path bordered by green grasses...
Spectatorial Labour: The Political Vision of Sergei Loznitsa’s Documentaries Santasil Mallik May 2023 Feature Articles Earlier last year, the Belarus-born Ukrainian filmmaker Sergei Loznitsa drew a spate of hostile reactions when he denounced the blanket ban on Russian...
Horse-People and White Voices: Neoliberalism and Race in Sorry to Bother You Thomas Austin May 2023 Feature Articles The comedy drama Sorry to Bother You (2018), written and directed by Boots Riley, follows the trials and tribulations of Cassius, aka “Cash”, Green (p...
The Exorcism of Sinister Ghosts: Saralisa Volm’s The Silent Forest Peter Verstraten May 2023 Feature Articles Papas Kino (Daddy’s Cinema) was the derogatory term applied to the post-war West German films that reproduced the conventions of movies made in the fa...
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 Feature Articles Expectations – When and How Culture Would Reflect Conflict’s Traumatic Experience In the late 90s, a persistent question was present within the Georg...
Values of Baz Luhrmann’s Elvis: A Carnival Ride Laleen Jayamanne January 2023 Feature Articles “It was the greatest Carnival Attraction I’d ever seen… His Super Power was Music.” - Colonel Tom Parker An Australian Film Brand With just six fi...
Fellini’s Memory: Amarcord Bruce Jackson January 2023 Feature Articles “I’m a liar, but an honest one. People reproach me for not always telling the same story in the same way. But this happens because I’ve invented the w...
More than Mimicry: On Puppets and Interdependency in Annette and The Double Life of Véronique Indigo Bailey January 2023 Feature Articles At all three screenings I attended of Leos Carax’s incandescent rock opera, Annette (2021), at my local theatre, the already sparse audience trickled ...
After Structural Film: The Conceptual films of Morgan Fisher Arindam Sen January 2023 Feature Articles Two programs of Morgan Fisher’s films, presented during the recently concluded 68th edition of the Oberhausen short film festival, occasioned the chan...
This Body Keeps the Score: the films of Saidin Salkic Dirk de Bruyn January 2023 Feature Articles The man simply begins to decipher the inscription. He purses his lips, as if he is listening. You’ve seen that it’s not easy to figure out the inscrip...
“A long time ago….”: The Persistence and Longevity of ‘Star Wars’ at 45 Tara Lomax October 2022 Feature Articles This article was peer reviewed This year Star Wars (George Lucas, 1977) commemorated its 45th anniversary. This anniversary recognises the passage of...
The Larrikin Girl: Challenging archetypes in Australian cinema Mark Freeman & Eloise Ross October 2022 Feature Articles This article has been peer reviewed Australian cinema has travelled a varied trajectory since its initial development in the late 19th century. The c...
Unrealisable woman: Tania in Stanley Kubrick’s Aryan Papers Joy McEntee October 2022 Feature Articles This article was peer reviewed. Introduction Stanley Kubrick oscillated between torturing his female characters and exhibiting sympathy for them. So...
Anatomy of a Breakup or Her Life to Fix: The Worst Person in the World Salvador Carrasco October 2022 Feature Articles Among the thousands of books that have been written trying to elucidate Hitler, there is a remarkable one by Ron Rosenbaum, Explaining Hitler: The Sea...
Respecting the Lives of Others: Bergman Island, Hommage and Anaïs in Love Anthony McKibbin August 2022 Feature Articles “There aren’t many films about female creativity”, Mia Hansen-Løve says, “and even fewer that consider the art and craft of cinema from a woman’s poin...
More than a Wink: The Nature of Reality in Blow-Up and Las Babas del Diablo Will Hair July 2022 Feature Articles Michelangelo Antonioni’s Blow-Up (1966) contains obvious differences from its source material, Julio Cortázar’s short story Las Babas del Diablo (1959...