The Prelude the editors November 2023 Editorial As we move through the spooky season to summer blockbusters, the serious and eclectic discussion of cinema continues. Issue 107 covers Senses of Cinema founding editor, Bill Mousoulis’, latest film, My Darling ...
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...
An Interview with Delphine Girard Gary M. Kramer November 2023 Interviews A good short film uses time to support the story. Given the brief running time, a filmmaker must establish a setup, keep viewers in suspense, and deli...
Writing Like Water: An Interview with Paul Preciado Mike Hoolboom November 2023 Interviews Paul Preciado is an aphorism machine, the David Bowie of contemporary philosophy. Like other contemporary thinkers (what used to be called “public int...
Mapping Global Horror: Academic roundtable Amanda Barbour November 2023 Interviews Mapping Global Horror: Australia, Japan and Beyond brought world-leading scholars and filmmakers to Wurundjeri country for a two-day conference to nav...
Mapping Global Horror: Filmmaker roundtable Amanda Barbour November 2023 Interviews At the intersection of theory and practice, Mapping Global Horror: Australia, Japan and Beyond put horror scholars in dialogue with filmmakers and fes...
Our Body is a Battleground: An Interview with Claire Simon Öykü Sofuoğlu November 2023 Interviews This year's Berlinale was marked by Nicolas Philibert's surprising victory with his modest and intimate documentary about a Parisian psychiatric insti...
“Irritation Is the Most Important Tool Any Artist Has”: An Interview with Jessica Hausner Jaimey Fisher & Gerd Gemünden November 2023 Interviews In a review of Club Zero, Jessica Hausner’s latest feature, which premiered in Competition at Cannes this year, Charles Bramesco calls the director “A...
Shame on Dry Land: An Interview with Axel Petersén and Joel Spira Gary M. Kramer November 2023 Interviews Shame on Dry Land, by Swedish writer/director Axel Petersén, is a flinty noir set in sunny Malta. The film, which had its World Premiere at this year’...
Groundbreaking Cinephilia: A Conversation with Julien Rejl, Artistic Director of the Directors’ Fortnight Maria Giovanna Vagenas November 2023 Interviews With a gaze that radiates a dreamy but determined freshness, the beautiful Leonor Silveira in Manoel de Oliveira's Abraham's Valley (Vale Abraão, 1993...
In Search of Indie’s Soul: Chinese Independent Cinema Today and Beyond Xiang Fan November 2023 Festival Reports Chinese independent cinema has long been associated with the term ‘underground cinema’ since its emergence in the 1990s. Due to its non-compliance to ...
Amiko haunts the 23rd Nippon Connection Roger Macy November 2023 Festival Reports The stand-out film of the 2023 Nippon Connection – although the ‘Visions’ jury in Frankfurt didn’t agree with me – was Amiko, (Kochira Amiko, 2022), w...
Notes From The 26th San Francisco Silent Film Festival Jonathan Mackris November 2023 Festival Reports Some background The only way to begin responsibly is with some facts about the status of the Castro Theatre in San Francisco, the long-time home of t...
Magnetizing and still Putting on Weight – the 37th Il Cinema Ritrovato Roger Macy November 2023 Festival Reports This midsummer, in the centre of Italy, I encountered an enviably rich film festival with more than 30 great historic films, all unseen by me. There w...
Dealing with the past, and present, at the 29th Sarajevo Film Festival Randy Malamud November 2023 Festival Reports Crowds erupted in the narrow streets outside Sarajevo’s stately National Theatre as security guards cleared a space for someone unexpected – though we...
76th Locarno Film Festival: Culture on the Edge, Tumbling Into Futures Unknown Jaimey Fisher November 2023 Festival Reports Locarno is, and can feel, half a world away from Hollywood, but much of the press talk leading up to this year’s 76th Locarno Film Festival concerned ...
Rock and roll and garden parties at the 57th Karlovy Vary International Film Festival Cerise Howard November 2023 Festival Reports “Well, to be completely honest, the award’s very nice and all, but I’m only here for the gig. I was ignorant to this whole thing until just a while ag...
Rou, Aleksandr Deborah Allison November 2023 Great Directors b. 8 March 1906, Iur'evets, Russia d. 28 December 1973, Moscow, USSR Fifty years after his death, Aleksandr Arturovich Rou remains a cinematic icon ...
Woo, John Jeremy Carr November 2023 Great Directors b. September 22, 1946 (birthdate as stated on passport), Guangzhou, China While several filmmakers have become synonymous with specific genres, few h...
Taylor, Elizabeth Gabrielle Stecher November 2023 Great Actors b. February 27 1932, London, United Kingdom d. March 23 2011, Los Angeles, United States It was fitting that, in 1967, Elizabeth Taylor starred as H...
For Bérénice Michelle Carey November 2023 Obituary Some people leave a pronounced mark on you in life, and Bérénice is that person for me. During my 20 years at Senses of Cinema, I worked with her regu...
Facing the Other: Keyvan Manafi’s The Eye of the Cinematograph: Levinas and Realisms of the Body M. Sellers Johnson November 2023 Book Reviews There is often something intangible about the cinematic images we regard onscreen that continually inspires our curiosity, attention, and seemingly en...
A Man of Genius Has Been Seldom Ruined But By Himself: Ethan Warren’s The Cinema of Paul Thomas Anderson Hannah Bonner November 2023 Book Reviews When he was seven, Paul Thomas Anderson wrote in his diary, “I want to be a writer, producer, director, special effects man. I know how to do everythi...
Silver City Grace Boschetti November 2023 CTEQ Annotations on Film Reflecting on her AFI-winning feature Silver City (1984) in her achingly intimate 2013 documentary Once My Mother, filmmaker Sophia Turkiewicz address...
The Golden Cage: Ayten Kuyululu and Australian Cinema Adrian Danks November 2023 CTEQ Annotations on Film A longer version of this article analysing The Golden Cage, A Handful of Dust, and Ayten Kuyululu’s career in more detail will appear in a forthcoming...
Twice a Man Darragh O’Donoghue November 2023 CTEQ Annotations on Film What are the right words to discuss this? - Stephen Dwoskin on Gregory Markopoulos Advance Guard artists are so far in advance of their audiences th...
A Rainha Diaba Mateus Nagime November 2023 CTEQ Annotations on Film Positive representation dominates the current debate around queer audiovisual media. But make no mistake, A Rainha Diaba (Antonio Carlos de Fontoura, ...
No longer lost, now remembered: A conversation with Rafael de Luna Freire about Antes, o Verão Eloise Ross November 2023 CTEQ Annotations on Film Gerson Tavares (1926-2021) made only a few films in a very rich period in Brazil’s history, circling around yet outside of the 1960s political preoccu...
The Red Light Bandit Guilherme Carréra November 2023 CTEQ Annotations on Film Some films outlive time. Although their year of production is located in the past, their energy spreads over decades, influencing filmmakers, resurfac...
It’s About Time We All Met a Happy End Cerise Howard November 2023 CTEQ Annotations on Film The “Czechoslovak film miracle” of the 1960s has long been synonymous with the Czechoslovak New Wave, a term principally applied to works produced by ...
Assault on the Pay Train Jeremy Lehnen November 2023 CTEQ Annotations on Film Assalto ao trem pagador (Assault on the Pay Train, 1962) was directed by Roberto Farias, produced by Herbert Richers and is a dramatisation of the Cen...
Heave Ho! Faith Everard November 2023 CTEQ Annotations on Film The rhythmic cogs of the machinery click and shuffle, a steady beat emerges with each press of the tin, each bubble of the milk. A behemoth of industr...
Czechoslovakia’s King and Queen of Comedy: Anny Ondra and Vlasta Burian in An Old Gangster’s Molls Shari Kizirian November 2023 CTEQ Annotations on Film The third film written by Josef Skružný and his nephew Elmar Klos to star Vlasta Burian, An Old Gangster’s Molls (Milenky starého kriminálníka, 1927) ...
A Entrevista and Meio-Dia, by Helena Solberg Fabio Andrade November 2023 CTEQ Annotations on Film Helena Solberg’s name has been featured in histories of Brazilian cinema primarily as an exception to the rule: she was the only female director assoc...
Tocaia no Asfalto Filipe Furtado November 2023 CTEQ Annotations on Film Cinema Novo, Brazil’s politically minded 1960s New Wave, is often discussed as a Rio de Janeiro movement, but there was also a rich scene in the early...
Classe Tous Risques Brad Weismann November 2023 CTEQ Annotations on Film The story begins and ends in the street. The protagonist first emerges from the crowd, wife and children in tow. By film’s end, he has vanished into t...
Scenes from a Manhunt – Panique Rolland Man November 2023 CTEQ Annotations on Film “If I were an architect and I had to build a monument to the cinema, I would place a statue of Julien Duvivier above the entrance”. These are the word...
Du rififi chez les hommes (Rififi) Martyn Bamber November 2023 CTEQ Annotations on Film Out of the worst crime novels I have ever read, Jules Dassin has made the best crime film I have ever seen. For the record, Dassin’s most famous film...
The Fading Kouros of Razzia sur la chnouf Grant Bromley November 2023 CTEQ Annotations on Film “How old are you?” Henri Ferré, Jean Gabin’s character in Henri Decoin’s Razzia sur la chnouf (1955), regularly asks women. One replies, "What do...
Macunaíma Gustavo Furtado October 2023 CTEQ Annotations on Film With vibrant tropical colours and a penchant for the grotesque, Macunaíma (1969) is a strange but delightful masterpiece of Brazilian cinema. Its crea...
Tomorrow I’ll Wake Up and Scald Myself with Tea Danica van de Velde September 2023 CTEQ Annotations on Film In 1976, Czech writer and scholar Antonín Jaroslav Liehm wrote a scathing appraisal of the current state of Czechoslovak cinema entitled “Triumph of t...
The Woman Suffers: South Australia’s greatest film production Stephen Gaunson September 2023 CTEQ Annotations on Film Having previously collaborated on twelve low-budget (short and feature) films together, by 1917 Raymond Longford and Lottie Lyell were now wanting to ...
The Sentimental Bloke Darragh O’Donoghue September 2023 CTEQ Annotations on Film Lottie Lyell had her work cut out when she agreed to appear as the love interest of The Sentimental Bloke (Raymond Longford, 1919). The film was, and ...
