Feature Articles

Child neglect has long been a staple of European cinema. The lost boys of post-war Italian neo-realism saw the pressures of adulthood placed on them f...

It is mesmerizing to watch someone so absorbed in their work. (…) Her hands seem almost transparent as she touches the letters, moves them across the...

Woman Sitting After Killing (2001) in “Travelling”, Jeu de Palme, Paris, September 2024 – January 2025 The Chantal Akerman exhibition at Jeu de Pal...

The film Marseille (Angela Schanelec, 2004) begins in the street. More precisely, in a car, the camera pointed to show exactly the back of the driver’...

The producer and directors of the Netflix series El secreto del río (The Secret of the River, Alberto Barrera, 2024) have delivered a sensitive and la...

Abbas Kiarostami was not the first Iranian filmmaker to gain global recognition, but he was the first internationally renowned Iranian auteur. The rea...

“There seems to be no other monster than the labyrinth itself.” – Jacques Lacan In an interview with the film critic Mark Schilling, Kore-eda Hiroka...

A young man arrives on a long-distance bus in a frontier town on the Thailand–Laos border. At a bus station café he befriends a precariously employed,...

Judging by films produced in Hollywood’s Classic period, from roughly the early 1930s to the late 1950s, there was a time when, on just about any remo...

“If you’re going to tell people the truth, be funny, or else they’ll kill you.” – Billy Wilder Billy Wilder was an amazingly versatile cinematic art...

In Australia it has been impossible to elicit much sympathetic appraisal from critics who seem distressed by the relation of personal film to amateur ...

Miyazaki Hayao’s recent and perhaps last work, Kimitachi wa dō ikiru ka (The Boy and the Heron, 2023) announces itself as a dramatic departure from it...

WARNING: SPOILERS AHEAD In the midst of what is in all probability the most consequential presidential election in the history of the United States...

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...

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...

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...

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...

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...

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, ...

“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...

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...

Acknowledgments I would like to thank Prof. Vitaly Chernetsky for his encouragement and assistance with writing this piece. All images used as illu...

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...

Translated from Portuguese by Matt Losada. This text originally appeared in Revista Piauí, no. 180, September 2021. Translated and reprinted here w...