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...
Protestploitation ’70: Revisiting Zabriskie Point and Strawberry Statement Selen Ozturk July 2022 Feature Articles The revolution may not have been televised, but it was certainly filmed. In 1970, youth rallied in droves and studios rolled out the little red carpet...
Suicide and Genius: Insights into One Episode of Akira Kurosawa’s Dreams Matthew Michaud & Justin Richardson July 2022 Feature Articles In 1990, Akira Kurosawa, one of Japan’s greatest directors, released his antepenultimate film Yume (Dreams). At the age of 80, this was to be the most...
Interrogating Identity: The Fractal Self in Le petit soldat Michael James Beck July 2022 Feature Articles Jean-Luc Godard’s Le petit soldat (The Little Soldier, 1963) would have been his second feature film release following his career-defining À bout de s...
Bigger than life, or stranger: Pedro Costa’s Vitalina Varela: Part III Thomas Austin July 2022 Feature Articles Vitalina Varela (2019) is the seventh feature film by the Portuguese director Pedro Costa. It tells the true story of a woman from Cape Verde who trav...
Bigger than life, or stranger: Pedro Costa’s Vitalina Varela: Part II Thomas Austin May 2022 Feature Articles Vitalina Varela (2019) is the seventh feature film by the Portuguese director Pedro Costa. It tells the true story of a woman from Cape Verde who trav...
Fire Machines: Titane and the Pyrotechnics of Love Emmalea Russo May 2022 Feature Articles “…it shall be revealed by fire.” - Corinthians 3:13 “If our aim is to explore the farthest potentialities of being, we may well opt for the disorder...
Cringing Violently: Reparative Watching, Phenomenology and Discomfort in Australian Cinema Caitlin Wilson May 2022 Feature Articles The seminal Australian film Wake in Fright (Ted Kotcheff, 1971) opens with a sweeping, circular pan around a desert landscape. It begins in silence, b...
Deleuzian Rumblings: Residue by Desire Machine Collective Vedant Srinivas May 2022 Feature Articles Desire Machine Collective (DMC) is a collaboration between artists Mriganka Madhukaillya and Sonal Jain, based in Assam (India). Inspired by the writi...
Acts of Faith: On Benedetta (Paul Verhoeven, 2021) Peter Verstraten May 2022 Feature Articles Several reviewers have described Benedetta (Paul Verhoeven, 2021) as a lesbian nunsploitation drama. Reports about the film, which had its world premi...
‘Is The Power of the Dog a New Zealand film? National Identity, Genre and Jane Campion’ Alfio Leotta & Missy Molloy May 2022 Feature Articles The Power of the Dog premiered at the Venice Film Festival on September 2, 2021. In a short time, however, much has already been written about writer-...
