Issue 100: the Centennial Edition the editors January 2022 Editorial In 1999, the then 36-year-old Melbourne-based independent filmmaker Bill Mousoulis hatched an idea for an online film journal. The notion of starting a film journal that would purely reside on the Internet was ...
World Poll 2021 – Part 1 the editors January 2022 World Poll ENTRIES IN PART 1: Antti Alanen Victor Alicea Francisco Algarín Navarro Salvador Amores Geoff Andrew Cinema Antiviral. Martyn Bamber Jennifer Lynde Barker Arta Barzanji Amarsanaa Battulga Mike Bartl...
World Poll 2021 – Part 2 the editors January 2022 World Poll ENTRIES IN PART 2: José Cabrera Betancort Thomas Caldwell Michelle Carey Nicolás Carrasco Michael J. Casey Kevin Cassidy Guilherme Cavalcanti Jeremy Chamberlin Daryl Chin Janina CiezadloJesús Cortés ...
World Poll 2021 – Part 3 the editors January 2022 World Poll ENTRIES IN PART 3: William Edwards Samantha Egensteiner Gerónimo Elortegui John K. Emelianoff Adalberto Fonkén Gwendolyn Audrey Foster Simon Foster Sachin GandhiFlora Georgiou Sean Gilman Antony I. Gi...
World Poll 2021 – Part 4 the editors January 2022 World Poll ENTRIES IN PART 4: Craig Harshaw Glenn Heath Jr. Michael Heath Alain Hertay David Heslin Lee Hill Chris Hite Peter Hourigan Brian Hu Christoph Huber Tomáš Hudák Parviz Jahed Darik Janik Christophe...
World Poll 2021 – Part 5 the editors January 2022 World Poll ENTRIES IN PART 5: Jonathan Mackris Bob Manning Łukasz Mańkowski Miguel Marías Jack McCulloch Tim McQueen Adrian Mendizabal Jamie Mendonça Douglas Messerli Stefano Miraglia Olaf Möller Marcel Müller...
World Poll 2021 – Part 6 the editors January 2022 World Poll ENTRIES IN PART 6: Peter Nagels Boris Nelepo Andy Norton Darragh O’Donoghue Roberto Oggiano Wilfred Okiche Andreea Patru Andrew F PeirceAntoni Peris-Grao Andréa Picard Milan Pribisic Catherine Putman...
World Poll 2021 – Part 7 the editors January 2022 World Poll ENTRIES IN PART 7: Dan Sallitt Maria San Filippo Rowena Santos Aquino Jack Sargeant Christine Sathiah Barnabé Sauvage & Occitane Lacurie Howard SchumannChristopher Small Valerie Soe Mark Spratt Ma...
World Poll 2021 – Part 8 the editors January 2022 World Poll ENTRIES IN PART 8: Jason Tan Liwag Tomas Trussow Koen Van Daele Noel Vera Peter VerstratenNicholas Vroman David Walsh Jason Philip Wierzba Christopher Witty Barbara Wurm Jason Tan Liwag Alumnus...
Forms That Think: The Work of Jean-Luc Godard (Introduction) Daniel Fairfax January 2022 Forms That Think: Jean-Luc Godard On June 9, 1971, Jean-Luc Godard suffered from a sickening traffic accident, with the motorcycle that he used to zip around Paris colliding with a van...
Breathless in El Dorado Murray Pomerance January 2022 Forms That Think: Jean-Luc Godard “Landscapes, faces, and objects ask only for their own beauty, unadorned, free of pathos, like the world seen for the first time.” - Nestor Alme...
Fashioning Rebellion Elliot Bloom January 2022 Forms That Think: Jean-Luc Godard Now 91 years old, Jean-Luc Godard is regarded as one of the key pioneers of the French New Wave, a revolutionary movement in cinema. While the landmar...
“Slightly Out of Focus”: The Early Work of Jean-Luc Godard and Gerhard Richter Sally Shafto January 2022 Forms That Think: Jean-Luc Godard Is an indistinct photograph a picture of a person at all? Is it even always an advantage to replace an indistinct picture by a sharp one? Isn’t the in...
When Godard’s Characters Leave Civilisation Behind Mariam Razmadze January 2022 Forms That Think: Jean-Luc Godard “True life is elsewhere. We are not in the world.” - Arthur Rimbaud No other director of the French New Wave has explored the theme of what we cou...
Nature/Politics in Godard: Notes towards an Investigation David Fresko January 2022 Forms That Think: Jean-Luc Godard The role of nature in Godard’s films has been widely commented upon, and often with great lucidity. This is a consequence of the fact that ever since ...
New Relations Between Forms: Luttes en Italie Daniel Fairfax January 2022 Forms That Think: Jean-Luc Godard 1. Of all the phases of Godard’s now seven-decade career in the cinema, it is his period of avowedly militantly filmmaking from 1968 to 1972, made w...
Ici et ailleurs: The Backstory Rula Shawan January 2022 Forms That Think: Jean-Luc Godard The 1960s saw turbulent political and social developments in the wake of World War II and the radical crisis generated by France's last colonial wars ...
Jean-Luc Godard: Making Cinema on the Page Dork Zabunyan January 2022 Forms That Think: Jean-Luc Godard Jean-Luc Godard began to write for film magazines at a very young age. He was twenty years old when he published his first articles in La Gazette du c...
France Tour Détour Deux Enfants: History of a Book Volker Pantenburg January 2022 Forms That Think: Jean-Luc Godard In January 1982, a strange book was brought out by the German publisher Zweitausendeins. The title: France tour détour deux enfants / Frankreich Weg U...
When Everything is Said: Eisenstein’s Stone Lion in Histoire(s) du cinema and Godardian Historiography Pablo Gonzalez Ramalho January 2022 Forms That Think: Jean-Luc Godard Among the many spiralling sequences that make Bronenosets Potemkin (Battleship Potemkin, Sergei Eisenstein, 1926) a major example of what the Soviet d...
Metahistory on Video: Hollis Frampton in the Histoire(s) Giles Fielke and Ivan Cerecina January 2022 Forms That Think: Jean-Luc Godard …your proposal of any given film as a “fragment”, which I suspect you ran intuitively head-on into in the heat of discourse…well, it was suggestive t...
The Problem of “America” in Éloge de l’amour Hamish Ford January 2022 Forms That Think: Jean-Luc Godard The image, no longer just aurally but visually, becomes firstly a question, and secondly, a critique. – Nicole Brenez Godard is too Bazanian to...
Exploding the Sign from Within: Paradoxes of Post-Structuralist Epistemology in Adieu au Langage Patrick Kokoszynski January 2022 Forms That Think: Jean-Luc Godard “One never touches the thing itself but metaphorically.” – Jean-François Lyotard 1. In his emphatic review of Adieu au langage (Goodbye to Language...
Not the animal is blind, but the human being, blinded by consciousness and incapable of seeing the world. A Note on Roxy Miéville, Star of Jean-Luc Godard’s First Animal Picture, Adieu au Langage Vinzenz Hediger January 2022 Forms That Think: Jean-Luc Godard “With all of their eyes, animals behold openness.” – Rainer Maria Rilke, The Eight Duino Elegy (trans. Alfred Corn) “The meaning of the dog is the...
The Experimental Propagandist: Frank Capra and the Shape of Truth Richard Sowada January 2022 Feature Articles At first pass, placing Frank Capra into the position of a major figure in the experimental and avant-garde continuum may seem counter intuitive in the...
Heil Darling: a story of lips that haven’t laughed Pablo Gonçalo January 2022 Feature Articles Billy Wilder in the ‘30s In 1938, Billy Wilder was 32 years old and had been in America for five years. Born to a family of Polish Jews in the Austro...
The Night Shift: Woman as Outlaw Hero in The Man I Love Rob Nixon January 2022 Feature Articles How do you approach a Classic Hollywood character like Petey Brown? She solves everyone’s problems, slaps men around and disarms them – physically and...
Smooth Digital Reveries: On Proto-Vaporwave and The Flying Luna Clipper Dechlan Cochran January 2022 Feature Articles There are countless films that peddle in the reification of dreams, and countless filmmakers for whom that is their primary mode. From David Lynch’s p...
Promising Young Woman and the cinematic renegotiation of gender in rape-revenge Joy McEntee January 2022 Feature Articles This article was peer reviewed. Introduction How do we keep the past alive without becoming its prisoner? How do we forget it without risking its r...
Streaming paracinema: Charles Band, Full Moon Features and auteurism on third tier SVOD services Andrew Lynch and Alexa Scarlata January 2022 Feature Articles This article was peer reviewed. Introduction On the periphery of the loud and attention-hoarding “streaming wars” playing out between the likes of ...
Loss and Absence in Still Life Yiju Huang January 2022 Feature Articles I am most desperate when the shooting is going well. I don’t get anxious when the shooting is not going well, because…it is precisely when I know I am...
The Cry: Cinema, Sentiment, Minnelli Murray Pomerance January 2022 Feature Articles The European Magazine for January, 1783, describes as fashionable: Elliott’s Red-Hot Bullets and The Smoke of the Camp of St. Roche. It is manifestly ...
Jacob Holdt’s American Pictures: A Note on Style in Poor Cinema J. Ronald Green January 2022 Feature Articles Who says that fictions only and false hair Become a verse? Is there in truth no beauty? - George Herbert, Jordan (I), c. 1633 In connection wit...
Looking for Truth: Elia Kazan’s East of Eden and post-Korean War America Mary Hamer January 2022 Feature Articles The talk at the supermarket checkout was all of Sam Mendes’ film 1917 (2019). It had picked up three Oscars, just the night before. “Why it did, I...
The Journey: Peter Watkins’s Polyphonic Plea for Humanity Jacob Hovind January 2022 Feature Articles Famed in increasingly small cinephiliac circles as one of the great firebrands of film history, Peter Watkins’s singular reputation rests on his unaba...
No Exit: Monte Hellman’s The Shooting Anand Sudha January 2022 Feature Articles From one angle, as Phillip Strick’s Sight and Sound review pointed out, The Shooting (Monte Hellman,1966) can be viewed as a classic revenge Western w...
After the Storm: National Cinema in Myanmar Krathyn White January 2022 Feature Articles Prior to the military coup in Myanmar on 1 February 2021, a new wave of fiercely independent productions emerged to challenge the political and social...
The Hired Hand: Peter Fonda’s Mystical, Poetic Western 50 Years Later Mark Lager January 2022 Feature Articles As Bruce Langhorne (who composed the music for Peter Fonda’s directorial debut The Hired Hand) said, “Nobody at Universal knew what to do with it. The...
Bigger than life, or stranger: Pedro Costa’s Vitalina Varela: Part I Thomas Austin January 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...
Hard Times are Over: Saidin Salkic’s The Last Days of Loneliness Fiona Villella January 2022 Feature Articles Over the last couple of years, the pandemic has forced us to consider the impact of loneliness and to consider just how important others are in our li...
Pom Bunsermvicha interview: “Being part of a family“ Maja Korbecka January 2022 Interviews As a result of institutional support, independent filmmaking in Southeast Asia is flourishing. Thailand has grown into a creative hub – production com...
Leaning into the Challenge: Interview with Scattered co-creators Logan Mucha and Kate Darrigan Stuart Richards January 2022 Interviews Social media platforms have long been avenues for filmmakers to experiment with form and story. YouTube, Vimeo and Snapchat have had varying amounts o...
“The cinema remains alive when it is diverse”: Interview with Jean-Gabriel Périot Daniel Fairfax January 2022 Interviews Having gained attention on the film festival circuit with his essayistic found-footage retelling of the history of West Germany’s Rote Armee Fraktion ...
Do you feel lonely standing here? A conversation with Na Jiazuo Łukasz Mańkowski January 2022 Interviews 2021 was an interesting year for Chinese Cinema. Propaganda celebrating the 100th anniversary of the Chinese Communist Party dominated mainstream prod...
A Joyride through Technological Change: Interview with David Cox Dirk de Bruyn January 2022 Interviews David Cox’s innovative engagement with moving image technology extends over numerous iterations, spanning analogue formats 16mm, 35mm and Super 8 to a...
Thessaloniki International Film Festival: Rewriting the Rules of the Game Maria Giovanna Vagenas February 2022 Festival Reports Inventive and sassy – one of the best in a long time – 2021's TIFF poster featuring Mrs. Tependris in her pink overall, kicking off the event with a c...
The Pivot to Asia: The 34th Tokyo International Film Festival Kohei Usuda February 2022 Festival Reports Preamble Following the previous year’s abbreviated edition – when the global pandemic forced organisers to scale back the event and forgo its main co...
Come Together: The 59th Viennale Leonardo Goi January 2022 Festival Reports Anytime I’ve wondered about the pandemic’s impact on my relationship with cinema – a depressing exercise I’ve indulged in far too often over these god...
From White Clouds, Wild Delights: The 18th Golden Apricot Yerevan International Film Festival Carmen Gray January 2022 Festival Reports “I see Mount Ararat — it stands high in the blue sky. With its gentle, tender contours, it seems to grow not out of the earth but out of the sky, as i...
AFI FEST-AFM: The Perils of Online Bérénice Reynaud January 2022 Festival Reports The Perils November 2021: as I prepare, confident in my virtual screening accreditation, to make my film selection for the AFI Fest, a bad surprise i...
Looking for Love at HitchCon 2021 Amelia Leonard and Jacob Agius January 2022 Festival Reports Hitchcon 2021 brought together twenty professors, scholars, authors and filmmakers from the United States, Canada and Britain for a celebratory weeken...
Sharing Sensations with a Community of Strangers: The 68th Sydney Film Festival Joshua J. Taylor January 2022 Festival Reports Mask wearing, social distancing and QR code check-ins may have become normalised practices in our everyday lives, but in the context of an internation...
Expanding on the Familiar: The 26th Busan International Film Festival Marc Raymond January 2022 Festival Reports 2021 marked a return of the Busan film festival to close to normality following a 2020 which had very limited theatrical presence, consisting mostly o...
Towards New Horizons: The 74th Locarno Film Festival Maria Giovanna Vagenas October 2021 Festival Reports This summer the Locarno Film Festival and its Piazza Grande finally got their colours back. The giant screen in the piazza lit up again and the public...
“I Wish I Were Here”: Women at the 2021 Toronto International Film Festival Alexandra Heller-Nicholas October 2021 Festival Reports Locked down as I have been in Melbourne, Australia, and unable to attend the Toronto International Film Festival in person for a second year running, ...
Time Capsules: Manfred Kirchheimer at Play-Doc 2021 Iván Villarmea Álvarez October 2021 Festival Reports How many times can we return to a place, to a time, to a mood? Each time is different, since we ourselves are different, although we usually look for ...
35th Cinema Ritrovato Inhabits Bologna with Joy and Pride Roger Macy October 2021 Festival Reports When I wrote last year on Cinema Ritrovato that “it is by no means certain that we will have reached ‘post-COVID’ any time soon”, did I really have an...
An Enclave for Chinese Art Cinema: The 13th Xining First International Film Festival Zhaoyu Zhu and Jiakai Nie October 2021 Festival Reports Xining is located in a river valley on the eastern side of the Tibetan Plateau. Due to its proximity to Tibet and Xinjiang, the city has a strong mult...
Alberto Lattuada at the 74th Locarno Film Festival Sofie Cato Maas October 2021 Festival Reports “The cinema is unequaled for revealing all the basic truths about a nation.” Alberto Lattuada Two years since the last physical edition of Locarno, ...
Embarrassment Of Riches: The 59th New York Film Festival Nolan Kelly October 2021 Festival Reports About three-quarters of the way through the New York Film Festival’s press screenings, which unfolded in an orderly pace at Lincoln Center’s Walter Re...
A Fortnight Alone with the 69th Melbourne International Film Festival Jacob Agius October 2021 Festival Reports When the Melbourne International Film Festival (MIFF) rolls around in early August, that final month of winter always feels a little warmer in Melbour...
Curtiz, Michael Jeremy Carr January 2022 Great Directors b. 24 December, 1886, Budapest, Austria-Hungary d. 10 April, 1962, Hollywood, Los Angeles, California, USA Having helmed some of the most successful...
Lau, Kar-leung Tom Cunliffe January 2022 Great Directors 28 July, 1934. Guangzhou, Guangdong, Republic of China 25 June, 2013. Tai Wai, Sha Tin, Hong Kong The kung fu genre and Shaw Brothers studio gave La...
Tahimik, Kidlat Charles Fairbanks January 2022 Great Directors Widely considered the ‘father of independent cinema’ in the Philippines, Kidlat Tahimik made his first film Mababangong Bangungot (Perfumed Nightmare,...
Cage, Nicolas Jessica Balanzategui January 2022 Great Actors b. 7 January 1964, Long Beach, California, United States My first viewing of Mandy (Cosmatos, 2018), one of the films that sparked the late 2010s Nic...
The Depths of Empiricism: Werner Herzog: Ecstatic Truth and Other Useless Conquests, by Kristoffer Hegnsvad Tony McKibbin January 2022 Book Reviews A beautifully presented account of Herzog’s work, Kristoffer Hegnsvad’s book finds its purpose in both its design and in its sense of affiliation. Heg...
Hollywood, Reinvented: Shooting Midnight Cowboy: Art, Sex, Loneliness, Liberation, and the Making of a Dark Classic, by Glenn Frankel Elroy Rosenberg January 2022 Book Reviews “It’s my idea,” said Ken Kesey while held in the visitation of a California jail in 1966, “that it’s time to graduate from what has been going on, to ...
And the road goes on: Fellow Citizen (Abbas Kiarostami, 1983) Jean-Baptiste de Vaulx January 2022 CTEQ Annotations on Film In 1983, when the late great Iranian filmmaker Abbas Kiarostami made his medium-length documentary Fellow Citizen, Iran was still in the throes of its...
A Wedding Suit (Abbas Kiarostami, 1976) Alicia Byrnes January 2022 CTEQ Annotations on Film Godfrey Cheshire, film critic and author of the volume Conversations with Kiarostami, describes A Wedding Suit as “a gem-like masterpiece that anticip...
Children of the Revolution: Abbas Kiarostami’s First Graders (1984) Adrian Danks January 2022 CTEQ Annotations on Film Avaliha (First Graders, 1984) is a fascinating transitional work in Abbas Kiarostami’s career. Although it is, in many ways, a precursor to both Khane...
Some Enchanted Evening: Mitchell Lesien and Preston Sturges’ Remember the Night (1940) Adrian Danks January 2022 CTEQ Annotations on Film Mitchell’s Leisen’s Remember the Night (1940) is most commonly discussed as the last film Preston Sturges wrote before becoming a director. It is ofte...
Unfaithfully Yours (Preston Sturges, 1948) Michael Koller January 2022 CTEQ Annotations on Film This essay was originally published in Cteq: Annotations on Film, no. 1 (1996), pp. 18-20, and appears here with a small number of minor changes. A...
Hail the Conquering Hero (Preston Sturges, 1944) Rick Thompson January 2022 CTEQ Annotations on Film This article originally appeared in CTEQ: Annotations on Film, no. 1 (1998), published in Metro, no. 113/114 (1998), p. 131. It is reprinted with the ...
