Introduction the editors May 2024 Editorial Welcome, dear readers, to Issue 109 of the serious and eclectic discussion of cinema. True to our spirit, the contributions herein are wide-ranging, sharp and timely, starting with a 16-text dossier (guest-edit...
Becoming Nonhuman Cristóbal Escobar & Barbara Creed May 2024 Film and the Nonhuman The cinema is a marvellous apparatus for taking us outside ourselves and outside of the world in which we believe ourselves to live. – Jean Epstei...
Multiple Knowledges and the Non-human in Leviathan: Michel Serres and the Power of Creative Practice Kevin Hunt May 2024 Film and the Nonhuman Introduction: Intuitions and Intersensoriality The multiple. Water, the sea. Perceptional bursts, inner and outer, how can they be told apart? In ‘S...
A Tale of Two Donkeys: Transcendent Creatures and Transcendental Style in Au Hasard Balthazar and EO Dr. Matthew Cipa May 2024 Film and the Nonhuman Robert Bresson’s Au Hasard Balthazar (1966) and Jerzy Skolimowski’s EO (2022) both tell emotionally compelling, immersive stories that prominently fea...
Play with Man Ray: Human-canine intra-action in William Wegman’s video art Claire Henry May 2024 Film and the Nonhuman During the 1970s, American artist William Wegman created seven reels of short video works including many created in collaboration with his canine comp...
The Agency of Resource: Alanis Obomsawin’s Relational Vision Lloyd Alimboyao Sy May 2024 Film and the Nonhuman Place names accrue meaning and thus become the loci of contradictions. The beginning of Alanis Obomsawin's The People of the Kattawapiskak River (2012...
Change Not Mummified: A Conversation with Tiffany Deater Bennet Schaber May 2024 Film and the Nonhuman Writing in 1926 of some of her early experiences of the cinema, in this case pre-WWI actualities, Virginia Woolf made some observations that might yet...
The Animal Side: Interview with Katherine Waugh & Fergus Daly Ruairí McCann May 2024 Film and the Nonhuman I See a Darkness (2023) delves into the shadow archive of image-capture technologies, and, with an emphasis on the non-human and animal, raises questi...
Film and the Nonhuman Technology of Photography: Blowup and Godland David McCooey & Oscar Bloomfield May 2024 Film and the Nonhuman Filmmakers have long been fascinated with photography’s ability to thematise the productive, typically resistant, interplay between the human and the ...
Is the Earth Fucked? Lars von Trier’s Melancholia (2011) & Albrecht Durer’s Melencolia 1 (1514) Laleen Jayamanne May 2024 Film and the Nonhuman Real depression is boring, there’s not usually a lot of cinematic stuff going on. And Lars had a very creative way of making it not boring. – Kirs...
Ethics of Dissociation. The Films of Véréna Paravel and Lucien Castaing-Taylor Reinhold Görling May 2024 Film and the Nonhuman At the end of the 19th century, the emerging field of psychology adopted the concept of dissociation to describe mental processes that run counter to ...
É Noite Na América (Ana Vaz, 2022): Towards an Integral Politics of Animality Cristóbal Escobar & Valeria de los Ríos Escobar May 2024 Film and the Nonhuman Animals are visual thinkers. We are verbal thinkers. – Vinciane Despret, What Would Animals Say If We Asked Them the Right Questions? An aerial vi...
Being Animal in Robert Bresson’s Au Hasard Balthazar Zina Giannopoulou May 2024 Film and the Nonhuman would have us be concerned not with the psychology but with the physiology of existence. – André Bazin, “Le journal d’ un curé de campagne and the...
Multispecies filmography: networks of kin in the films of Ana Vaz, Sriwhana Spong, and Tina Stefanou Tessa Laird May 2024 Film and the Nonhuman At the end of Brazilian filmmaker Ana Vaz’s It is Night in America, (2022), it is not just the human contributors who are credited. Vaz lists the vari...
Beyond the Anthropocene by different scales: nonhuman and temporality in Patricio Guzmán’s essay films Eduardo Ferraz Felippe May 2024 Film and the Nonhuman Patricio Guzmán is widely recognised as one of the most eminent Latin American filmmakers. Approaching his eighty-third birthday, he remains committed...
Black Wave: The Legacy of the Exxon Valdez Transcending the Anthropocene/Responding to Nature’s Ethical Call James M. Magrini May 2024 Film and the Nonhuman Bill Nichols presents six conceptual lenses through which to examine the ways in which documentary film functions to invoke and convey its meaning...
Girardet and Electricity—Video as Vibrant Matter J. Ronald Green May 2024 Film and the Nonhuman It was natural to think of connections above the ground—roads, electric cables, forests, and seas—but more disturbing to think of them being beneath...
Ugliness, Poethical Bodies, and Nonhuman Phenomenologies in Border Nonie May May 2024 Film and the Nonhuman Ali Abbasi’s 2018 film Border situates the central character, Tina (Eva Melander), as a liminal figure: lonely, strange, ugly. This is evident from t...
Late Style, Ruminations on Grief and Gothic Minimalism in Francis Ford Coppola’s Twixt. Oliver Parker May 2024 Feature Articles “There is therefore an inherent tension in late style that abjures mere bourgeois aging and that insists on the increasing sense of apartness and exil...
Beyond Words – Existential Agency in Women Talking Aazka K. V. Patel May 2024 Feature Articles 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...
Voyage to the End of the Universe: Aniara (2018) Wheeler Winston Dixon May 2024 Feature Articles 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...
Occluded Wales: The Haunted Ground of Joanna Hogg’s The Eternal Daughter Alix Beeston & Robert Lloyd May 2024 Feature Articles The fog slowly dissipates to reveal a quiet country lane circled by gnarly trees. A taxi comes around the bend, the warmth of its headlights barely pe...
A Deafening Complicity in The Zone of Interest Jill Barkman May 2024 Feature Articles 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, ...
Fight the Power: Animated Art and Resistance Jennifer Lynde Barker May 2024 Feature Articles “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...
A Faithful Heart: Photogénie and Impressionistic Strategies in Terrence Malick’s Knight of Cups M. Sellers Johnson May 2024 Feature Articles Introduction Terrence Malick studies have circulated with considerable attention over the past two decades. Prevailing scholarship attends to Malick’...
The Hidden Force: Dutch Films about the Colonial Past in the East Indies Peter Verstraten May 2024 Feature Articles 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...
No Unknown Soldiers… Dina Iordanova May 2024 Feature Articles Acknowledgments I would like to thank Prof. Vitaly Chernetsky for his encouragement and assistance with writing this piece. All images used as illu...
A look at ‘invisible’ Indian cinema: Pariah and I Am Not The River Jhelum Jon Jost May 2024 Feature Articles Pariah (Riddhi Majumder, 2020) As occasionally happens with me, a few years back I was sent a film to look at by someone I did not know. It was from ...
An Interview with Jon Bell Gary M. Kramer May 2024 Interviews Expanded from his 2020 short of the same name, The Moogai is writer/director Jon Bell’s allegorical horror film about the Stolen Generation – the forc...
“I like characters who can’t express themselves sometimes”: An Interview with Kazik Radwanski Susana Bessa May 2024 Interviews Matt and Mara (2024) was my first and last screening at this year’s Berlinale. I can’t remember the last time I saw the same film twice at a film fest...
An Interview with Fernanda Valadez and Astrid Rondero Gary M. Kramer May 2024 Interviews Fernanda Valadez made a stunning feature directorial debut with Identifying Features (2020). For her sophomore effort, Sujo (2024), which premiered at...
Sewn Into the Margins: An Interview with Marie Craven Dirk de Bruyn May 2024 Interviews The following interview with Marie Craven originated from an online interview after a film class viewing of a program of her films as we moved out of ...
“I Did Not Want to Make a Film About Victims”: An Interview with Lola Arias Silvia Spitta & Gerd Gemünden May 2024 Interviews “Yo no quería hacer una pelicula sobre víctimas” – with these words director Lola Arias described to us her approach to making a film about a dozen fo...
An Interview with Meryam Joobeur Gary M. Kramer May 2024 Interviews Meryam Joobeur earned an Oscar nomination for her 2018 short film, Brotherhood, about a Tunisian family grappling with the unexpected return of their ...
Spiritual Connections, Analog Exuberance, and the Joys of Presence: An Interview with Nathan Silver Brigitta Wagner May 2024 Interviews The 74th Berlin International Film Festival could not have taken place on a more politicised stage. Not only did the festival reflect, as it typically...
Susie Dee, Trudy Hellier and Patricia Cornelius talk Shit with interviewer Cerise Howard Cerise Howard May 2024 Interviews Written by Patricia Cornelius, one of Australia’s most celebrated playwrights and a Windham-Campbell prize winner, the micro-budget Melbourne feature ...
Images in Motion: The Currents Program at the 61st New York Film Festival Will DiGravio May 2024 Festival Reports There are two main sites of the New York Film Festival. On the northside of West 65th Street, in the Lincoln Square neighbourhood of Manhattan, is the...
The 5th Hainan Island International Film Festival: At the construction site Maja Korbecka May 2024 Festival Reports It is customary in China’s film festival environment for there to be is almost no information on the upcoming edition of a festival until the last two...
Bound together by stories: Māoriland Film Festival 2024 Duncan Caillard, with Scott W. Kekama Amona May 2024 Festival Reports Ōtaki is a small town on the southern side of Te Ika-a-Māui, the North Island of Aotearoa. Like many small towns in New Zealand, Ōtaki centres on a qu...
Behind Saudi Arabia’s Emerging Film Scene at the Third Red Sea International Film Festival Miriam Aitken May 2024 Festival Reports Nader steps into the light of the crackling fire. Sitting around it, sporting the traditional red and white ghutra, the elders of an unnamed village i...
CPH:DOX 2024: Breaking Out! The Liberating Force Of Documentary Maria Giovanna Vagenas May 2024 Festival Reports Those visiting Copenhagen for the first time to attend CPH:DOX, the country’s leading international documentary film festival, which ran from the 13th...
Declaration of War: the 2024 Berlinale Daniel Fairfax May 2024 Festival Reports In the years – decades even, or so it sometimes feels – that I have been dashing off these festival reports, I have never put pen to paper in a state ...
Mind the Gap: New German Films at the 74th Berlin International Film Festival Marco Abel May 2024 Festival Reports To begin, then, with Hamlet: to be or not to be, this seems to be the question these days for the city of Berlin when it comes to its longstanding sta...
The 38th Teddy Award at the 74th Berlinale: A Dutiful Juror’s Report Cerise Howard May 2024 Festival Reports Launched in 1987, the queer film-celebrating, multiple-category Teddy Award has existed for more than half the nigh-on three-quarters of a century lif...
There is a place called Palestine. thoughts and feelings; a film festival in Rotterdam. Tara Judah May 2024 Festival Reports The day I arrived in the Netherlands was the same day that the provisional measures request from South Africa in their genocide case against Israel wa...
Greenaway, Peter Sherry Johnson May 2024 Great Directors b. April 5, 1942, Monmouthshire, Wales P is for Peter. G is for Greenaway. – Peter Greenaway was born in Newport, Wales in 1942. His father was a bui...
White People Have Work to Do: Ellen E. Jones’ Screen Deep: How film and TV Can Solve Racism and Save the World Tara Judah May 2024 Book Reviews In her entertaining and thoroughly engaging whistle-stop tour through 20th century popular film and TV narratives, film critic and journalist Ellen E....
The World of Invisible Films: Shadow Cinema: The Historical and Production Contexts of Unmade Films, edited by James Fenwick, Kieran Foster and David Eldridge Pablo Gonçalo May 2024 Book Reviews “A true history of cinema – once stated Jean-Luc Godard – must include all the histories of the films that were never made” (p. 1). Indeed, this very ...
That Passionate Night in Rome: Mario Monicelli and Suso Cecchi d’Amico’s The Passionate Thief Yilin (River) Jiang May 2024 CTEQ Annotations on Film Risate di gioia (The Passionate Thief, Mario Monicelli, 1960) marked a reunion for the Italian comedy director Mario Monicelli and the most illustriou...
A Swim with Love and Death: Zurlini, Cecchi d’Amico and Violent Summer David Melville May 2024 CTEQ Annotations on Film The war is over and we’ve lost. What matters is to come out alive. – Eleonora Rossi Drago, Violent Summer One of the few violent moments in Estate...
La signora senza camelie Adrian Danks May 2024 CTEQ Annotations on Film This article was originally published by “Cteq: Annotations on Film” when it appeared in Metro, no. 117 (1998). It is republished here with permission...
Luchino Visconti’s L’innocente Shari Kizirian May 2024 CTEQ Annotations on Film L’innocente (The Innocent, 1976) was not the film Luchino Visconti initially set out to make and certainly was not intended to be his last. Even as th...
Bluebeard’s Castle, or The Horror Chambers of Doctor Powell David Melville May 2024 CTEQ Annotations on Film There is gore on everything; opera is synonymous with bloodshed and erotic violence. – Peter Conrad In the beginning was the Word – and the Word w...
Seeing Colours: The Thief of Bagdad (1940) Alex Williams May 2024 CTEQ Annotations on Film The Archers thought in colour from The Thief of Bagdad onwards. When British producer Alexander Korda set out to remake Raoul Walsh’s silent epic The...
Our Time Will Come Seán Cubitt April 2024 CTEQ Annotations on Film Winner of Best Film and Best Director at the 37th Hong Kong Film Awards, Ming yue ji shi you (Our Time Will Come, 2017) is the 29th film directed by A...
Boat People Andrew Le April 2024 CTEQ Annotations on Film Following the end of the Vietnam War in 1975, many people endeavoured to escape the country, with the main method available being by boat. It is estim...
The Secret Faith Everard April 2024 CTEQ Annotations on Film It’s strange to witness a film so visually bewitching and yet so narratively disorganised. Fūng gip (The Secret, Ann Hui, 1979) is such a film: comple...
Yackety Yack, Don’t Talk Back Adrian Danks March 2024 CTEQ Annotations on Film Shot in late 1972 and released at the Melbourne Filmmakers Co-op in mid-September 1974, Dave Jones’ Yackety Yack is one of the key films made in that ...
Queensland Digby Houghton March 2024 CTEQ Annotations on Film It is July and Richmond are teetering on a spot in the top eight in the Australian Football League (AFL), a sport that is akin to a religion in Melbou...
A Splash of Light in the Darkness: Edward Dmytryk’s Crossfire Wheeler Winston Dixon March 2024 CTEQ Annotations on Film Crossfire (Edward Dmytryk, 1947), often classified as a film noir, and one of the first Hollywood films dealing with antisemitism, didn’t start out wi...
“I Know a Way…”: Sudden Fear Ian Olney March 2024 CTEQ Annotations on Film Hollywood never knew what to do with Gloria Grahame. When Grahame’s movie career stalled in the early 1960s, she had only been in the business for fif...
Tribute to a Tyrant: The Bad and the Beautiful Grace Boschetti March 2024 CTEQ Annotations on Film When Gloria Grahame won the Academy Award for Best Supporting Actress for her sub-ten-minute performance in Vincente Minnelli’s The Bad and the Beauti...
Pirandello on Film: Kaos Joseph Sgammato February 2024 CTEQ Annotations on Film Kaos unites the Taviani brothers with Nobel Prize-winning author Luigi Pirandello for an explosion of onscreen Siciliana. As they had done for Sardini...
Caesar Must Die Faith Everard February 2024 CTEQ Annotations on Film “His life was gentle, and the elements So mixed in him that Nature might stand up And say to all the world, “This was a man.”” - Anthony, in Wi...
Padre Padrone Martyn Bamber February 2024 CTEQ Annotations on Film From its opening moments, Padre Padrone (1977) defies expectations. On the surface, this film by brothers Paolo and Vittorio Taviani, which is based o...
The Night of the Shooting Stars Darragh O’Donoghue February 2024 CTEQ Annotations on Film The landscape is never simply a landscape for the Taviani Brothers. Whether fertile or barren, and in Sardinia or Sunset Boulevard, the landscape is m...
One Sings, the Other Doesn’t Faith Everard February 2024 CTEQ Annotations on Film The first feminist gesture is to say: “OK, they’re looking at me. But I’m looking at them.” The act of deciding to look, of deciding that the world is...
Anna Darragh O’Donoghue February 2024 CTEQ Annotations on Film Is Anna (Pierre Koralnik, 1967) desperately modish or a critique of desperate modishness? Like most social satires, it prefers to have its cake and ea...
Une Femme est Une Femme Martyn Bamber February 2024 CTEQ Annotations on Film Une Femme est Une Femme (A Woman Is a Woman, 1961) seems like an oddity in the film canon of Jean-Luc Godard. The second feature Godard released after...
