Elizabeth Price’s “Dexterous Facility”: An Anarchival Impulse? Catherine Fowler August 2024 Feature Articles This article has been peer reviewed. From Abby Warburg’s art project Mnemosyne Atlas to art documentaries such as Alain Resnais and Chris Marker’s ...
American Wasteland: Alex Garland’s Civil War Wheeler Winston Dixon August 2024 Feature Articles WARNING: SPOILERS AHEAD In the midst of what is in all probability the most consequential presidential election in the history of the United States...
From Domestic Ethnography to a Cinema of Mourning: Finding the Father on Film Emily Rytmeister August 2024 Feature Articles In the end, one must recognize that all this filling up and patching over of holes in the Real has its limits. And yet, as regards the work of mournin...
Cinematic Modalities: Beyond the Boundaries of Frame, Image and Sound in Mommy and The Lighthouse Rebecca Chew August 2024 Feature Articles Periods of intense technological change are always fascinating for film theory, because the films themselves tend to stage its primary question: What ...
The Fleeting Lullabies of Queerness: An Analysis of the Queer Poetics in Jenni Olson’s Short Films Amin Heidari August 2024 Feature Articles Soul, O My Rare Soul, Your Flame’s Too Fine for Their Crude Oil Abbas Kiarostami, the renowned Persian filmmaker, once distinguished films into two t...
“Do you know who I am?”: Confusion and Loss in Saidin Salkic’s My Heart Bled like Niagara Falls Fiona Villella August 2024 Feature Articles The cinema of Saidin Salkic may be known to only a handful in the Melbourne film community but that’s no reflection of its complexity, inventiveness a...
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...
Late Style, Ruminations on Grief and Gothic Minimalism in Francis Ford Coppola’s Twixt. Autumn 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...
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...
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...
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...
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...
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...
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...
