Carrying the Fire: Paternal Relationships in the Films of Viggo Mortensen Rowan Righelato December 2016 Feature Articles Interwoven with the complex anti-heroes Viggo Mortensen has portrayed in genre pieces such as Carlito's Way (Brian De Palma, 1993), A Perfect Murder (...
“People Say I Frighten Them”: An Interview with Glenda Jackson Gerard Corvin December 2016 Feature Articles Glenda Jackson stepped off the number 53 bus. She was a picture of conspicuous normality: fleece, jeans, bags of shopping. We had arranged to meet at ...
Bringing The Dead Back to Life: Don Sharp’s Psychomania (1973) Wheeler Winston Dixon December 2016 Feature Articles BFI’s Flipside series continues with another excellent release, a completely restored version of Don Sharp’s “zombie biker” film Psychomania (1973), s...
Body-Time: Rethinking the Radical Edge in Video Performance by Australian Women Artists Anne Marsh December 2016 Feature Articles In this paper I want to look at a few case studies from recent Australian performance art, to examine the ways in which video performance is being pre...
Shock, Horror, Spirit: Hitchcock’s Psycho (1960): Part Two Ken Mogg December 2016 Feature Articles This two-part essay basically concerns Alfred Hitchcock’s relation to Catholicism. My thanks to Senses of Cinema for allowing its publication over two...
Chrono-Maps: The Time of the South in Antonio Gramsci, Luchino Visconti, and Emanuele Crialese Lorenzo Fabbri December 2016 Feature Articles This article engages with cinema’s cartographic potential by exploring its capacity to either reinforce or problematise mainstream geopolitical imagin...
Farewell Michel Delahaye Daniel Fairfax December 2016 Feature Articles “Critic and actor!” trumpeted the press-kit for François Truffaut’s 1972 comedy Une belle fille comme moi (A Gorgeous Girl Like Me). Few have successf...
Affect, Identification and Communion: The New Generation of Polish Documentary Masha Shpolberg December 2016 Feature Articles In 1971, Krzysztof Kieślowski, Bohdan Kosiński and Tomasz Zygadło, three eminent if then still young documentarians, co-signed a manifesto entitled “D...
Cinema and Poetry: T. S. Eliot’s Murder in the Cathedral Wheeler Winston Dixon September 2016 Feature Articles I’ve always had a curious affection for George Hoellering’s 1951 film adaptation of T.S. Eliot’s verse play Murder in the Cathedral. Eliot composed it...
Imag(in)ing a Nation: Ali Mostafa about the Emergence of Emirati Cinema Alfio Leotta September 2016 Feature Articles What stories is Arab cinema telling? Until recently, Egyptian films were your best bet to find out. Since the late 2000s, however, a new swathe of Ara...
“More publicity means more protection”: An interview with documentary director Sonia Kennebeck Chuleenan Svetvilas September 2016 Feature Articles The quietly powerful documentary National Bird, directed by Sonia Kennebeck, reveals the story of three whistleblowers who speak about their experienc...
Neil Taylor’s Experimental Animation: The Technical Habitus As Aesthetic Trace Dirk de Bruyn September 2016 Feature Articles This essay examines Neil Taylor's animations, situated between the moving image, performance and sculpture and in the shadows of his recognised wire-b...
Shock, Horror, Spirit: Hitchcock’s Psycho (1960): Part One Ken Mogg September 2016 Feature Articles This two-part essay basically concerns Alfred Hitchcock’s relation to Catholicism. My thanks to Senses of Cinema for allowing its publication over two...
Adieu, Carolus (Charles Bitsch, 1931-2016) Sally Shafto September 2016 Feature Articles It is often said that a film set is like a military campaign. Another analogy would be that of a professional kitchen (itself based on the military mo...
All the World’s a Stage: Matías Piñeiro and Hermia & Helena Christopher Small September 2016 Feature Articles This interview with Argentine filmmaker Matías Piñeiro took place at the Locarno Film Festival in August 2016. About all that needs be said about Piñe...
“There is Something Very Strange in Cinema”: An Interview with Whit Stillman Eloise Ross August 2016 Feature Articles “Facts are such horrid things!” writes Mrs Alicia Johnson to Lady Susan Vernon in Jane Austen’s early novella, Lady Susan. In Whit Stillman’s film Lov...
An Ideal Patience: On Lav Diaz and From What Is Before Robert Nery July 2016 Feature Articles Pregnant with the Word of God The Virgin will Come down the road If you give her shelter. In this famous poem, Saint John of the Cross, the great ...
Anxious Metropolis: Alienation and the Cinema of 1960s Paris in Alphaville and Playtime Owen Vince July 2016 Feature Articles “Architecture is the will of an epoch translated into space” - Ludwig Mies van der Rohe, architect I recently found myself standing beneath an awning...
The Chamber Films of Matías Piñeiro: Complexity and Intertextuality in Micro-Budget Filmmaking Jason Di Rosso July 2016 Feature Articles This article interrogates the constraints of micro-budget cinema via a distinctive, non-standard approach to producing, screenwriting, mise en scène a...
Pop Provocation: A tour of the outer limits of the New Hollywood Nicholas Godfrey July 2016 Feature Articles “It’s a movie for kids, they’re not going to dig it, man!” Peter Tork, Head The story is, by now, familiar. Amidst dwindling cinema attendance and t...
‛A Man I Once Knew’: Old Tales and Bad Time in David Lynch’s Inland Empire Brian Rourke July 2016 Feature Articles The tagline for David Lynch’s Inland Empire (2006) describes the film as “a mystery” about a “woman in trouble”. This simple phrase coincides with mu...
A Diaspora of Desire: Gabriel Abrantes, Daniel Schmidt, Benjamin Crotty and Alexander Carver Jordan Cronk July 2016 Feature Articles When Gabriel Abrantes’ Taprobana (2014) screened at the Toronto International ortilm Festival as part of a three-film program of new Portuguese cinema...
“Keep the horizon open”: An Interview with Harun Farocki Ednei de Genaro and Hermano Callou July 2016 Feature Articles In February 2014, Harun Farocki invited us to interview him at his apartment in a former communist neighbourhood in Berlinaus. He had just turned seve...
“Everything about this film was tricky”: An interview with documentary filmmaker Eva Orner on Chasing Asylum Tim O’Farrell July 2016 Feature Articles Eva Orner is an Australian filmmaker now based primarily in Los Angeles, who began her career working in Australian television in the 1990s. She moved...
Temporal Vertigo: An Interview with John Akomfrah Thomas Austin July 2016 Feature Articles The pioneering British filmmaker John Akomfrah is co-founder of the Black Audio Film Collective and director of The Nine Muses (2010) and The Stuart H...
“Materials Have Memories”: An Interview with Melissa Dullius and Gustavo Jahn (Distruktur) Stefan Solomon July 2016 Feature Articles Brazilian filmmaking duo Melissa Dullius and Gustavo Jahn began working together in 1999 in Porto Alegre, and since 2007 have been based in Berlin, op...
‘A Certain Blind Look’: Žižek’s ‘absolute undecidability’ in Joseph Conrad’s ‘The Duel’ and Ridley Scott’s The Duellists Kit MacFarlane June 2016 Feature Articles For Slavoj Žižek, Charlie Chaplin's City Lights (1931) is "perhaps the purest case of a film which, so to speak, stakes everything on its final scene....
Sounding Loneliness in Under the Skin Sean Redmond March 2016 Feature Articles Listen. If you listen closely, intensely, you will hear the sounds of loneliness scoring the most profound encounters found on our screens and in t...
Zodiac and the Ends of Cinema Sam Dickson March 2016 Feature Articles This article interprets the obsessive procedural narrative of Zodiac (David Fincher, 2007) as a self-reflexive allegory for the transition from cellul...
Familiar Refrains and Minor Variations: Quentin Tarantino’s Hateful Eighth Jeremy Carr March 2016 Feature Articles Every Quentin Tarantino film has been greeted with considerable controversy and critical scrutiny, with arguments concerning each new release ranging ...
Chasing the Desert: An Interview with Enrica Fico on Her Work with Michelangelo Antonioni Eleonora Raspi March 2016 Feature Articles When I entered Michelangelo Antonioni’s apartment in Rome to interview his wife and long-standing collaborator Enrica Fico, I saw his clothes elegantl...
Doubt and Discovery: Laura Israel on her Work with Robert Frank George Kouvaros March 2016 Feature Articles “Look out the window. Look out. More, more! What a nice window.” - Robert Frank, The Present Recently described by the New York Times as the world’s...
Second Nature: On the Experimental Work of Richard Tuohy Lauren Bliss March 2016 Feature Articles Experimental and avant-garde cinema is often positioned in relation to the assumption that the cinematic arts are inherently commodified and commodify...
Towards a Technology of the Dead: Kim Soyoung on Her “Exile” Documentary Trilogy Kim Soyoung March 2016 Feature Articles Kim Soyoung is one of South Korea’s most prominent and acclaimed independent documentary makers. Directing under the name Jeong Kim, she is best known...
A Shared Space at Eye Level: An Interview with Documentary Filmmaker Philip Scheffner Brigitta Wagner March 2016 Feature Articles There is something prescient about the films of Philip Scheffner. While news teams chase down the stories of the moment and documentary opportunists v...
A Homeland Swansong: Apichatpong Weerasethakul on Cemetery of Splendor Amir Ganjavie December 2015 Feature Articles Three years since the release of his short feature Mekong Hotel (2012), Apichatpong Weerasethakul has returned to the international scene with Cemeter...