Welcome to Issue 87 of our journal the editors June 2018 Editorial For so many cinephiles, our love for cinema is also wrapped up in our personal biographies: films watched are difficult to disassociate from the people we were when we watched them, and returning to the same wo...
You Live Till You Die: Fatih Akin’s Hesitant Vigilante Ayten Tartici June 2018 Feature Articles Born in Hamburg to Turkish parents, the director Fatih Akin has never been shy of politics made personal. His films have long preoccupied themselves w...
The Doors of Reception: Notes Toward a Psychedelic Film Investigation David Church June 2018 Feature Articles I ask of film what most North Americans ask of psychedelic drugs. The difference being that when one creates a psychedelic film, he need not create a ...
Darkness Itself Made Plastic: The Forms and Formlessness of Jacques Rivette’s La Belle Noiseuse Sherry Johnson June 2018 Feature Articles If one hobbyhorse races a few strides ahead of others in the films of Jacques Rivette, that hobbyhorse is probably his conspicuous and ongoing obsessi...
Valeska Grisebach’s Western: an unacknowledged remake of Samuel Fuller’s Run of the Arrow Peter Verstraten June 2018 Feature Articles The oddest thing about Western (2017), the third feature film by the German director Valeska Grisebach after Mein Stern (Be My Star, 2001) and Sehnsuc...
“The absolute and ultimate manifestation of the power of the mind over technology”: Gaspar Noé talks 2001: a Space Odyssey Pip Chodorov and Jeremi Szaniawski June 2018 Feature Articles This interview was conducted in person by Pip Chodorov, with additional questions by Jeremi Szaniawski, at the Cannes Grand Hotel, 18 May 2018. It was...
The Dionysian Stage of 2018: Interview with Gabriel Abrantes and Daniel Schmidt Daniel Fairfax June 2018 Feature Articles 2018 is a World Cup year, so it is only to be expected that football-themed films will proliferate. None, however, are likely to be anywhere near as d...
“A Very YES, AND Person”: An Interview with Emma-Kate Croghan Doosie Morris June 2018 Feature Articles In 1995 faux-fur coats and matte lipstick were a big thing, Café Rumbarellas was on Brunswick Street and Australians still had a discernible accent. ...
Virtually Present, Physically Invisible: Virtual reality immersion and emersion in Alejandro González Iñárritu’s Carne y Arena Adriano D'Aloia June 2018 Feature Articles The freezing cement stings my heels while, in total solitude, I find myself looking at a pair of sneakers, abandoned beneath a shiny metal bench. The ...
“Why do you need me to tell you all the secrets?”: An Interview with Denis Côté Tomáš Hudák June 2018 Feature Articles French-Canadian auteur Denis Côté is probably best known for his Best Directing prizes at Locarno for his films Elle veut le chaos (All That She Wants...
The Embrace of the Serpent and the dark legacy of the rubber holocaust Mauricio Rivera June 2018 Feature Articles Like Francis Ford Coppola's Apocalypse Now (1979), The Embrace of the Serpent, directed by Colombian director Ciro Guerra (2015), may at first sight b...
Cold Wars: The 2018 Cannes Film Festival Daniel Fairfax June 2018 Festival Reports “Think with your hands.” Godard’s pronouncement – which the attentive viewer may have heard spring from his mouth two or three times before – opens Le...
Breaking Down Borders in the Midwest: True/False 2018 Jordan M. Smith June 2018 Festival Reports When looking at a map it’s hard to fathom the success of the True/False Film Festival, a four day celebration – in every sense of the word, with live ...
Finding the Forest Through the Trees: The 64th Internationale Kurzfilmtage Oberhausen Tara Judah June 2018 Festival Reports Few films captured my imagination this year in Oberhausen. Fewer still rocked my world. There were four new strands added to the program and finding m...
New Achievements, New Challenges: The 20th Far East Film Festival Chris Berry June 2018 Festival Reports Chalking up 20 editions is a big achievement for any film festival. After surviving the 2008 financial crisis and growing to include a significant ran...
The Case for Documentary: Full Frame 2018 Annie Berke June 2018 Festival Reports At the Full Frame Documentary Film Festival this year, the thematic program was “Crime + Punishment.” Curated by guest programmer and documentarian Jo...
Reflections Upon Transitions: The 18th Las Palmas International Film Festival Andreea Patru June 2018 Festival Reports The Canary Islander has the mind in Europe, the feet on Africa and the heart in America. – anonymous popular saying Spread upon five centuries of hi...
Inside the Outsides: The Half-Year in Documentary Festivals Carmen Gray June 2018 Festival Reports “Is Finland a fucking awful place?” Jörn Donner asks his fellow citizens for answers in Fuck Off! – Images from Finland. He travels around his then-mo...
Dismantling Divisions: NEW:VISION(s) at CPH:DOX 2018 Matt Turner June 2018 Festival Reports Having peppered their program with fiction films since their first edition in 2003 – a time when doing such a thing was far less commonplace than it i...
Conjuring Ghosts: The 15th IndieLisboa Leonardo Goi June 2018 Festival Reports I am interviewing Donal Foreman at the headquarters of IndieLisboa about his entry in the Portuguese extravaganza’s international competition, The Ima...
South Korea’s Shadow Land: The 19th Jeonju International Film Festival Marc Raymond June 2018 Festival Reports Over the course of five days at this year’s Jeonju film festival, I watched 21 films, the vast majority of which were Korean, with 15 of these being w...
Confronting Austrian history at the Diagonale: Making Up for Lost Time Randy Malamud June 2018 Festival Reports If Austrian film is less renowned than some other European cinema, still, it is a valuable and eclectic duchy of its own, and the Diagonale Festival o...
Grandrieux, Philippe Samm Deighan June 2018 Great Directors 1954, Saint-Étienne, France “Cinema is made (above all) with the hands, with the skin, with the entire body, by fatigue, by breath, by the puls...
Visconti, Luchino Jeremy Carr June 2018 Great Directors b. 2 November, 1906, Milan, Lombardy, Italy d. 17 March, 1976, Rome, Lazio, Italy Count don Luchino Visconti di Modrone was born to a life of respec...
Styles of Substance: The Extraordinary Image: Orson Welles, Alfred Hitchcock, Stanley Kubrick, and the Reimagining of Cinema, by Robert P. Kolker Tony McKibbin June 2018 Book Reviews Robert Philip Kolker has given us two very useful film books: The Altering Eye and A Cinema of Loneliness are excellent accounts of post-war European ...
Mind of a Movie Critic: Two Cheers for Hollywood, by Joseph McBride Adrian Schober June 2018 Book Reviews In Two Cheers for Hollywood, film historian and critic Joseph McBride is on a mission: to recover the marginalised or unsung reputations of screenwrit...
Face, Flesh, Film: The Face on Film by Noa Steimatsky Tyson Stewart June 2018 Book Reviews Noa Steimatsky’s intriguing book The Face on Film oscillates between straightforward history of various cinematic tropes of the face and theoretical t...
Cinema, the Art of Artificial Darkness: Artificial Darkness: An Obscure History of Modern Art and Media, by Noam Elcott Eugene Kwon June 2018 Book Reviews How does a history of cinema begin? Perhaps with cinema, one can say something along the lines of: “In the beginning was darkness.” But what kind of d...
The Forgotten Auteur: Julien Duvivier by Ben McCann Felicity Chaplin June 2018 Book Reviews “Duvivier is ripe for rediscovery”, declares Ben McCann in the opening to his book on French filmmaker Julien Duvivier and indeed the cineaste is a we...
An Alternative to Haptic Cinema: Philippe Grandrieux: Sonic Cinema, by Greg Hainge Troy Michael Bordun June 2018 Book Reviews In the first book-length study of French filmmaker Philippe Grandrieux, Greg Hainge meticulously outlines and details the director’s œuvre, in a study...
Subjectivity, Spectatorship and Social Change: The Act of Documenting: Documentary Film in the 21st Century, by Brian Winston, Gail Vanstone and Wang Chi Katherine Balsley June 2018 Book Reviews In the fall of 2017, I was approached by a colleague at the public liberal arts college where I teach film studies and production. My colleague, a pol...
Road Trip Through A Cinematically-Constructed America: The Imaginary Geography of Hollywood Cinema, 1960-2000 by Christian B. Long Shannon Scott June 2018 Book Reviews For film scholars interested in the narrative settings of cinema examined through a “cultural materialist approach to film history” (p. 4), combined w...
The Mercenary (Sergio Corbucci, 1968) Darragh O’Donoghue June 2018 CTEQ Annotations on Film The Mercenary is the most loveable of all spaghetti westerns. ‘Loveable’ is probably not an appropriate adjective for a subgenre that isolated, decont...
Comedy and the Castratrice: Věra Chytilová’s Traps (1998) Alexandra Heller-Nicholas June 2018 CTEQ Annotations on Film Rape-revenge films directed by women are a rarity, and rape-revenge comedies even rarer; somehow, connecting the two, we find queen of the Czech avant...
Destiny (Fritz Lang, 1921) Daniel Lammin June 2018 CTEQ Annotations on Film For anyone familiar with German director Fritz Lang through his most iconic works, Metropolis (1927) or M (1931), his 1921 film Der müde Tod (Destiny)...
Sabata (Gianfranco Parolini, 1969): The Best of the Bad Adam Powell June 2018 CTEQ Annotations on Film Lee Van Cleef passed away at the end of the 1980s, and his gravestone at the burial plot in the Hollywood Hills cemetery reads “Best of the Bad”. This...
Three Bullets for Three Dead Men: Sergio Sollima’s The Big Gundown (1966) José Sarmiento-Hinojosa June 2018 CTEQ Annotations on Film When Jonathan Corbett (Lee Van Cleef), in a famous scene from La resa dei conti (The Big Gundown, Sergio Sollima, 1966), places three bullets on a log...
Something Different (Věra Chytilová, 1963) Gwendolyn Audrey Foster June 2018 CTEQ Annotations on Film Though she is best known in the West for her widely celebrated anarchic experimental feminist classic Sedmikrásky (Daisies, 1966), Věra Chytilová has ...
Obsession and Madness in The Hands of Orlac Wheeler Winston Dixon June 2018 CTEQ Annotations on Film Orlacs Hände (The Hands of Orlac), directed by Robert Wiene in 1924 from the eponymous 1920 novel by French author Maurice Renard, has been re-adapted...
Attendance Is Obligatory: A Bagful of Fleas (Věra Chytilová, 1962) Bedatri D. Choudhury June 2018 CTEQ Annotations on Film Luce Irigaray argues that “any theory of the subject has always been appropriated by the ‘masculine’.” She is largely cynical of a feminist, or even f...
Asphalt (Joe May, 1929) Shari Kizirian June 2018 CTEQ Annotations on Film Light on plot and heavy in atmosphere, Asphalt (Joe May, 1929) was one of the last silent films to come out of Ufa, and the German mega-studio seems t...
Navajo Joe (Sergio Corbucci, 1966) Ben Kooyman June 2018 CTEQ Annotations on Film Among his many claims to fame, Marlon Brando was noteworthy as a supporter of Native American heritage and civil rights, famously sending activist Sac...
Fruit of Paradise (Věra Chytilová, 1969) Stefan Solomon June 2018 CTEQ Annotations on Film Following on from what is by far her best-known film, Sedmikrásky (Daisies, 1966), Věra Chytilová embarked on a new project, the production of which w...
The Great Silence (Sergio Corbucci, 1968) Brad Weismann June 2018 CTEQ Annotations on Film Darryl F. Zanuck hated it. After the masterful American producer screened the relentlessly downbeat, anti-capitalist spaghetti Western Il grande silen...
Prefab Story (Věra Chytilová, 1979): Farcical Times at a Prague High-rise Cerise Howard June 2018 CTEQ Annotations on Film A common misconception in the West is that Věra Chytilová directed only a few significant, narratively and aesthetically adventurous films, and all in...
The Last Laugh (F.W. Murnau, 1924) Tope Ogundare June 2018 CTEQ Annotations on Film The porter of the Atlantic Hotel is not a rich man, nor is he one of any cashable power or privilege. But when he dons his oddly warlike uniform, he i...
Death Rides a Horse (Giulio Petroni, 1967) Danica van de Velde June 2018 CTEQ Annotations on Film Met with an overwhelming number of lukewarm reviews upon its original cinematic release, and consistently relegated to little more than a footnote in ...
“Half Sick of Shadows”: Voyeurism and Psychosis in Warning Shadows David Melville June 2018 CTEQ Annotations on Film “Often,” says Tieck in William Lovell, “the world, its people, and its contingencies flicker before my eyes like flimsy shadows; often I appear to my...
Stardust Memories: Cinephilia and Nostalgia (Introduction) Daniel Fairfax June 2018 Stardust Memories: Cinephilia and Nostalgia The cinema has always, it seems, been tightly connected with feelings of nostalgia, such that it is not hard to imagine a film-goer in the early 20th ...
Speaking of the Dead Tony McKibbin June 2018 Stardust Memories: Cinephilia and Nostalgia Cinema certainly has many films that are happy to fall under the nostalgic, and even has plenty of devices to convey it. The use of songs from the per...
Living forever in The Sweet Hereafter: film spectatorship and personal memory César Albarrán-Torres June 2018 Stardust Memories: Cinephilia and Nostalgia People often ask me what my favourite movie is. For a cinephile, a simple answer verges on the impossible. Ozu’s Tôkyô monogatari (Tokyo Story, Yasuji...
Formative Portals: Nostalgia for a Slow Burn Cinephilia Hamish Ford June 2018 Stardust Memories: Cinephilia and Nostalgia I fully admit to having trouble with nostalgia – in life, but especially on film. So searing is the “real” version, I find, it has to be at least part...
Where Is She Going?: Travelling in the films of Eric Rohmer Tamara Tracz June 2018 Stardust Memories: Cinephilia and Nostalgia Towards the end of Conte d’hiver (A Winter’s Tale, Eric Rohmer, 1992), the protagonist Felicie goes on a series of journeys. Felicie spends a large pa...
Puya and Jerry Lewis Nafis Shafizadeh June 2018 Stardust Memories: Cinephilia and Nostalgia Puya navigated the Los Angeles traffic like a seasoned pro, without the help of an app. Its streets, traffic lights, accidents, stalled cars, make-or-...
She knows, I feel: a lifelong windswept vortex in the Hebrides Eloise Ross June 2018 Stardust Memories: Cinephilia and Nostalgia Dreams Father: “Have you ever been there?” Joan: “Often! In my dreams.” We’ve all been to places in our dreams. If they are positive dreams, with r...
Dancing Daze and the Case of the Missing Campion Alexandra Heller-Nicholas June 2018 Stardust Memories: Cinephilia and Nostalgia The great misnomer that “everything is online” revealed to me once again how flawed an assumption it is about a year ago when I was thinking through m...
Thinking about Celine and Jesse: Travelling through time with The Before Trilogy Joanna Di Mattia June 2018 Stardust Memories: Cinephilia and Nostalgia * The last time I saw France, I caught a train alone from Paris to Lyon. I ate a ham and cheese baguette, drank a bottle of Orangina, and flicked abs...
Art in Order: The Anatomy of a Film List David Heslin June 2018 Stardust Memories: Cinephilia and Nostalgia Of all of the inanimate paraphernalia in my life, the thing that I treasure more than any other is effectively weightless. It is, in one sense, a geom...
Jean-Pierre Léaud’s Left Hand André Habib June 2018 Stardust Memories: Cinephilia and Nostalgia In 2009, the Ontario Cinémathèque in Toronto presented a cycle on the nouvelle vague, and screened Masculin-Féminin (Masculine-Feminine, Jean-Luc Goda...
The Archive of Detritus Daniel Fairfax June 2018 Stardust Memories: Cinephilia and Nostalgia If asked about the film that has most affected me, then I want to answer with Godard’s Weekend (1967), Straub/Huillet’s Othon (1969), Bresson’s Pickpo...
Strange Sounds: The Recontexualisation of Score in the Films of Hélène Cattet and Bruno Forzani Clare Nina Norelli June 2018 Split/Screen Cattet/Forzani Disembodied voices that strain to conjure a melody; atmospheric percussion that sends a shiver through the soul; slithers of lounge guitar and sensual...
Vice and Vision: Magnifying Sergio Martino for The Strange Colour of Your Body’s Tears (2013) Kat Ellinger June 2018 Split/Screen Cattet/Forzani The sequence when Barbara explodes on the glass body is like the flashback in The Strange Vice of Mrs Wardh. It’s a scene that really struck me and we...
The Gaze in Hélène Cattet and Bruno Forzani’s Amer (2009) Michael Sicinski June 2018 Split/Screen Cattet/Forzani Throughout Hélène Cattet and Bruno Forzani’s 2009 debut feature Amer, the most prominent image is an extreme close-up of a pair of eyes. These are eye...
Sensorial Experimentation in O is for Orgasm (and Its Spectator) David Evan Richard June 2018 Split/Screen Cattet/Forzani Hélène Cattet and Bruno Forzani explain that their modus operandi is to tell stories “in a sensual, physical way,” ensuring that they are enjoyed “as ...
The Strange Shape of Their Cinema’s Body Jeremi Szaniawski June 2018 Split/Screen Cattet/Forzani Hélène Cattet and Bruno Forzani redefine the limits of cinematic grammar, and, further, of the cinematic body – a fascinating two-headed creature, wit...
The Gender(s) of Genre in Cattet and Forzani’s Ambisexual Cinema Anton Bitel June 2018 Split/Screen Cattet/Forzani The strange cinematic experiments of Hélène Cattet and Bruno Forzani grow over the graves of departed genres. Their shorts and their first two feature...
Split/Screen Cattet/Forzani John Edmond and Alexandra Heller-Nicholas June 2018 Split/Screen Cattet/Forzani This dossier coincides with retrospectives of the work of Hélène Cattet and Bruno Forzani at the Melbourne International Film Festival and the Queensl...
Facial Landscapes: Elina Löwensohn and Let the Corpses Tan (2017) Alexandra Heller-Nicholas June 2018 Split/Screen Cattet/Forzani Our planet has provided the most beautiful and ever changing natural landscapes in the form of mountains, oceans, forests and deserts. Human beings re...
Interview with Ève Commenge Jeremi Szaniawski June 2018 Split/Screen Cattet/Forzani Behind the success-story of filmmaking couple Hélène Cattet and Bruno Forzani is that of producer Ève Commenge. These three French expatriates have de...
A Language of Their Own: An Introduction to Hélène Cattet and Bruno Forzani Christoph Huber June 2018 Split/Screen Cattet/Forzani Making a splash on the festival circuit with their feature debut Amer (2009), Hélène Cattet and Bruno Forzani stunned critics and audiences alike with...
Doors and Their Secrets: The Legacy of 1940s Hollywood in The Strange Colour of Your Body’s Tears (2013) Martyn Conterio June 2018 Split/Screen Cattet/Forzani The Strange Colour of Your Body’s Tears begins with droning noise over production company credits. The industrial rumbling develops into a rhythmic sw...
Fragments of Hélène Cattet and Bruno Forzani Anton Bitel June 2018 Split/Screen Cattet/Forzani On 22 February 2018, Hélène Cattet and Bruno Forzani's Let the Corpses Tan was screened at Ciné Lumière in London's Institut Français Royaume-Uni, wit...
