A year later, alone together through film the editors May 2021 Editorial As we worked on issue 98 of Senses of Cinema from our lounge rooms, home offices and dinner tables across two continents, there was a sudden realisation among the editorial team: it has been a year since the CO...
Introduction Marcelo Alderate, Cecilia Barrionueva and Michelle Carey May 2021 What Will Become of Cinema? Postcards for the Future For the 34th edition of the Mar Del Plata Film Festival, held in November 2020, we decided to publish a book that would reflect on all the changes tha...
The Seahorse Francisco Algarín Navarro May 2021 What Will Become of Cinema? Postcards for the Future Translated from Spanish by César Albarrán-Torres When we touch each other, we are a bit less of an image. That is the difference between images and l...
Wellman for the Win Lautaro García Candela May 2021 What Will Become of Cinema? Postcards for the Future Translated from the Argentinian Spanish by César Albarrán-Torres During these past few months, the times of lockdown, the apparatus in charge of fe...
¡Finland Albertina! Albertina Carri May 2021 What Will Become of Cinema? Postcards for the Future A couple of years ago, I had an audiovisual exhibit at Parque de la Memoria de Buenos Aires, a place that is dear to my heart because it represents, t...
Two Letters from São Paulo Aaron Cutler May 2021 What Will Become of Cinema? Postcards for the Future 1st October, 2020 Dear Cecilia, Marcelo, Pablo and colleagues, I hope that you are all doing all right. Your invitation to send a reflection ...
At the end of the day, I made a “film diary” Mónica Delgado May 2021 What Will Become of Cinema? Postcards for the Future I The intensity of this pandemic jettisoned all my predictions regarding criticism and the way in which cinema is shared. I thought that the big thea...
Our Future Lies in the Past (and Archives Can Lend a Hand) Paula Félix-Didier May 2021 What Will Become of Cinema? Postcards for the Future Translated from the Argentinean Spanish by César Albarrán-Torres I believe that in part cinema’s future resides in its past. Nowadays everyone is ...
Plague Diary (March-October 2020) Lucas Granero May 2021 What Will Become of Cinema? Postcards for the Future Translated from Spanish by Gabriela Arenas 1. Mid-March. After sharing a few days of joyful cinephilia in the city of Córdoba with friends from all...
Unearthing Cinema, Learning to Breathe Victor Guimarães May 2021 What Will Become of Cinema? Postcards for the Future Translated from the Argentinian Spanish by César Albarrán-Torres The pandemic has had a very specific impact in cinema. At one point in its history...
The 400 Cyborgs Roger Koza May 2021 What Will Become of Cinema? Postcards for the Future I He was very tired. The solitude, after such a long time, had become a burden for him. Perhaps he was sick. The moxibustion session had gone from be...
Optimism James Lattimer May 2021 What Will Become of Cinema? Postcards for the Future In the summer of 2021, I will buy a bike several kilos lighter than my present one. Every weekend, we will leave the city on the RegionalBahn, whose b...
History of Cinema Mariano Llinás May 2021 What Will Become of Cinema? Postcards for the Future Translated from the Argentinian Spanish by Gabriella Munoz We have done well We revealed to the world the selenites, so fragile they turn to dust ...
Dear Cinema Valérie Massadian May 2021 What Will Become of Cinema? Postcards for the Future Dear Cinema, I’m writing to you from a little stone house covered with vine, where everyday bees come to forage. When you close your eyes, can y...
The Illusion of a Future (or: A Case for Cinephilia) José Miccio May 2021 What Will Become of Cinema? Postcards for the Future Translated from the Argentinian Spanish by César Albarrán-Torres I spent the first few months of the pandemic reading the diary that Adolfo Bioy Ca...
Being Together Olaf Möller May 2021 What Will Become of Cinema? Postcards for the Future In the very midst of Covid-19's early panic days, I went for the first time ever to a drive-in theatre; a friend of mine took me there, in good parts ...
Stayin’ Alive Andréa Picard May 2021 What Will Become of Cinema? Postcards for the Future Little did I know in February 2020, when collective laughter – some of the bemused variety – erupted at the Berlinale’s Palast during an absurdist mom...
Fragments of a Letter Exchange with Patrick Holzapfel Called The Prisoners of Corona Island Lucía Salas May 2021 What Will Become of Cinema? Postcards for the Future (This is a version of the last letter of a series that started during the first lockdowns, a collaboration between Jugend ohne film and La vida útil.)...
Cinephilia and Technology Dan Sallitt May 2021 What Will Become of Cinema? Postcards for the Future When I first fell in love with the cinema at age 17, I was primarily interested in classic Hollywood films, and my main sources of access were indepen...
The Movies of the Future Ramiro Sonzini May 2021 What Will Become of Cinema? Postcards for the Future Translated from the Argentinian Spanish by César Albarrán-Torres The film of the future will be even more personal than a novel, individual and autob...
A Letter from Below Graham Swon May 2021 What Will Become of Cinema? Postcards for the Future 1st October, 2147 Excavation site: North East Ravensburg, Upper Swabia European Region – Former Federal Republic of Germany My Dearest Niece, I ...
Memories of an Inner Flame Traversing Tierra del Fuego Kidlat Tahimik May 2021 What Will Become of Cinema? Postcards for the Future T’was the translucent-blue tongues of the glaciers licking the salty sea… yes, at the End of the World. That’s what they call Tierra del Fuego, at the...
Conjurations Helena Wittmann May 2021 What Will Become of Cinema? Postcards for the Future A fade-in, the sun is about to set in the cloudless sky above the sea. A male voice from off screen: "What are we waiting for?" Music enters. A female...
Letter to Buenos Aires Nele Wohlatz May 2021 What Will Become of Cinema? Postcards for the Future Translated from German by Michelle Carey. I am writing to you from Berlin. I came here for a job and when it was over, there were no more flight...
Jerzy, Bob, Jean-Pierre and My Friend Maui Against the Evil Virus Marcelo Alderete May 2021 What Will Become of Cinema? Postcards for the Future 1. More than a year after the beginning of the pandemic, film festivals still do not know what to do with these new times. The online editions were th...
Dreams of Italy’s Past: Giuseppe Rotunno’s Cinematography in Amarcord and The Leopard Mark Lager May 2021 Feature Articles Giuseppe Rotunno (born March 19, 1923) passed away at the age of 97 on February 7, 2021. Rotunno was a cinematographer whose eye for the frame was esp...
George Romero’s Zombie Movies: The Fragmentation of America Robert Alpert May 2021 Feature Articles George Romero reimagined the zombie movie when he co-wrote and directed Night of the Living Dead (1968). This was certainly not the first movie about ...
Boy with Flag and Black British experience in Akomfrah’s Handsworth Songs and McQueen’s Red, White and Blue Thomas Austin May 2021 Feature Articles Vanley Burke’s photograph Boy with Flag, Winford in Handsworth Park, 1970 appears in films by two of the most important figures in British cinema of t...
“Cinematic Comrades”: Bong Joon-ho’s Auteurism and Song Kang-ho’s Performance Nandana Bose May 2021 Feature Articles “For filmmakers, it’s simple, we just want to work with great actors and Song Kang-ho is such a great actor that it’s fearful how good he is…” Bong J...
Luis Buñuel’s El in the Face of Cultural Appropriation and the #MeToo Movement: A Filmmaker’s Reappraisal Salvador Carrasco May 2021 Feature Articles To my daughter Cassandra Before the first consumer-grade videotapes came out in the mid-1970s, it stands to reason that movies were not that readil...
Reclaiming the Warsaw Mermaids: Female Agency in ‘80s Communist Poland and The Lure Jessica Hudson May 2021 Feature Articles According to legend, a mermaid once surfaced in the Vistula river and was captured by a traveling merchant. When she sang out in distress, a group of ...
Listening Across Difference: Feminist Conversation, Sisterhood, and the ‘70s Irene Lusztig May 2021 Feature Articles “This magazine is not meant to preach to the converted – it’s for everyone,” editor Mary Peacock grandly announced to the L.A. Times in a 1971 article...
Deserted: Notes on J.P. Sniadecki and Lisa Malloy’s Speculative Borderlands Documentary A Shape of Things to Come Jay Kuehner May 2021 Feature Articles It begins with a landscape. The cinematic depictions of the Sonoran desert in El Mar La Mar (2017) and A Shape of Things to Come (2020), both co-direc...
The Ontology of Windows and Cinema in the Pandemic: e-flux and International Short Film Festival Oberhausen’s Film Series 2020 Shekhar Deshpande May 2021 Feature Articles WHOEVER leads a solitary life and yet now and then wants to attach himself somewhere….. he will not be able to manage for long without a window lookin...
Baron Lands: Environmental Upheaval and the Texas Oil Movie Adam Wyatt May 2021 Feature Articles The first gusher in Texas erupted over Spindletop, Beaumont in 1901 and took prospectors and engineers two full days to cap. By day ten, Spindletop pr...
Daydreaming Through Boundaries: A Conversation with Queena Li Łukasz Mańkowski May 2021 Interviews Premiering during the online edition of this year's International Film Festival Rotterdam in the Tiger Competition section, Queena Li’s Bipolar is a s...
Ecofeminism With Marwa Arsanios Madeleine Collier May 2021 Interviews Marwa Arsanios is a Berlin-based artist, filmmaker, and researcher whose work exposes the political dynamics latent in questions of ecology and land a...
Afro – Nouveau: The Rise of the African New Wave in Cinema Justice Ayowale Whitaker May 2021 Interviews In late 2019 early 2020, Brooklyn based filmmaker and author Justice A. Whitaker reached out to his friend and fellow filmmaker Togbe Gavua, based in ...
Surviving You, Always: An Interview with Director Morgan Quaintance Sofie Cato Maas May 2021 Interviews Among the shorts selected for the Ammodo Tiger Short Competition at the much anticipated (partially) online 50th edition of the International Film Fes...
Mobilities Between Place, Sound and Image: An Interview with Ana Vaz Dirk de Bruyn May 2021 Interviews I spoke with Ana Vaz at the International Film Festival Rotterdam (IFFR) in 2020. I had not seen Ana since watching her first film Sacris Pulso in Aus...
Disenchantment of the World: IFFR 2021 Madeleine Collier May 2021 Festival Reports It feels like every week since the start of the COVID-19 pandemic has contained more than a year’s worth of news events, and the week of the Internati...
IFFR 2021: High art, casual conversation Tara Judah May 2021 Festival Reports There is no festival in my home, only lockdown. But, there is a familiar and comforting Tiger that graces my television screen. It reminds me that the...
Rediscovering the Forgotten Gems of a Decade: Austrian Auteurs of the 1970s at the Viennale Maria Giovanna Vagenas May 2021 Festival Reports The 2020 Viennale was an extraordinary and memorable event. Carried by the courage, conviction and tenacity of its director Eva Sangiorgi and her team...
Pandemic Dreams: The 71st Berlinale Carmen Gray May 2021 Festival Reports Shuffling from bed to couch, stove-brewed coffee in hand, and firing up the laptop may make for an unusually leisurely way to start a festival day, bu...
Some Winners and Then Some: Sundance 2021 Bérénice Reynaud May 2021 Festival Reports I From the comfort of my home, and the peace of my computer, I didn’t miss the long lines in the cold, or my shoes soaked in dirty snow, nor did I mi...
Forgotten Wars: The AFI FEST/AFM 2020 (Virtual Events) Bérénice Reynaud May 2021 Festival Reports AFI FEST Presented by Audi Two Invisible Wars Ensconced in the mountains of the Southern Caucasus, a disputed breakaway enclave within Azerbaijan, ...
Making Visible: The 2021 Cinéma du Réel Andrew Northrop May 2021 Festival Reports An immediate glance at the International Selection of 2021’s Cinéma du Réel identifies familiar films from IDFA, International Film Festival Rotterdam...
Only the World and Everything In It: The 2021 Punto de Vista International Documentary Film Festival of Navarra Jay Kuehner April 2021 Festival Reports In its young history Punto de Vista (International Documentary Film Festival of Navarra) has staked out a distinguished identity, owing foremost to a ...
Obayashi, Nobuhiko Hal Young May 2021 Great Directors Nobuhiko Obayashi was a director often dismissed as someone whose works are “ultimately less than meets the eye.” The purpose of this piece is to argu...
Lee, Spike Isabella Mahoney May 2021 Great Directors b. 20 March, 1957, Atlanta, Georgia, USA Shelton Jackson “Spike” Lee is a prolific independent filmmaker, whose films span a diverse array of genre...
Lumet, Sidney William “Bill” Blick May 2021 Great Directors b. 1924 d. 2011 Career Beginnings Notable for his electrifying dramas of the 1970s and gritty depictions of New York in that era, director Sidney L...
Lesley Stern: Outlaw of Genre Marion May Campbell May 2021 Obituary She charges space, she rakes and ruffles her cropped and bleached hair, her dark eyes narrow as her thought uncoils with the lasso of smoke from her c...
Time Machines: After Kubrick: A Filmmaker’s Legacy, edited by Jeremi Szaniawski Joy McEntee May 2021 Book Reviews Interviewed in Jeremi Szaniawski’s After Kubrick: a Filmmaker’s Legacy, Gaspar Noé is asked about his relationship to Stanley Kubrick: I am a dwarf ....
The Politics of Ambiguity: After Authority: Global Art Cinema and Political Transition, by Kalling Heck Jennifer Ruth May 2021 Book Reviews When Mao died in 1976, the Great Proletarian Chinese Cultural Revolution drew to a close and a paralysed film industry began to function again. For a ...
Uta onna oboegaki (Notes of an Itinerant Performer, Hiroshi Shimizu, 1941) Andrew Brooks April 2021 CTEQ Annotations on Film The mood of Hiroshi Shimizu’s Uta onna oboegaki (Notes of an Itinerant Performer, 1941) is marked by an image that is unremarkable in its brevity earl...
I Kiss Your Hand, Madame (Robert Land, 1929) Eloise Ross April 2021 CTEQ Annotations on Film This lightly sophisticated comedy, indulging in its opportunities at the tail-end of two eras – those of silent cinema, and the Weimar Republic’s Gold...
Shimizu Redivivus: Nakinureta haru no onna yo (A Woman Crying in Spring, Hiroshi Shimizu, 1933) Joseph Sgammato April 2021 CTEQ Annotations on Film Among the many differences the widely acknowledged dean of Japanese film scholars in the Anglophone world, Donald Richie, likes to point out between W...
Pit Stop: Billy Wilder’s Mauvaise graine (1934) Adrian Danks April 2021 CTEQ Annotations on Film The low budget, independently-produced Mauvaise graine (1934) is an outlier in Billy Wilder’s career. Although it characteristically illustrates the v...
“This is You, You Bastards”: Ace in the Hole (1951) Deborah Allison April 2021 CTEQ Annotations on Film “Can you take it?” the Paramount publicity ads asked prospective audiences. “Can you stand pulse-pounding suspense? Can you take raw, tense drama? Can...
The Major and The Minor (Billy Wilder, 1942) Karli Lukas April 2021 CTEQ Annotations on Film An earlier version of this article first appeared in CTEQ: Annotations on Film published in Metro no. 109 (1997): 53-54. After watching several of ...
“She smelled of Tokyo”: Sensory connections in The Masseurs and a Woman (1938) Danica van de Velde April 2021 CTEQ Annotations on Film A prolific filmmaker who reportedly directed over 150 films between 1924 and 1959, Hiroshi Shimizu has arguably received only a fraction of the critic...
Fourteen’s Good, Eighteen’s Better (Gillian Armstrong, 1980) Ben Kooyman April 2021 CTEQ Annotations on Film Since the success of My Brilliant Career (1979), Gillian Armstrong has become somewhat synonymous with period cinema, an association borne out by her ...
Tôkyô no eiyû (A Hero of Tokyo, Hiroshi Shimizu, 1935) Hayley Scanlon April 2021 CTEQ Annotations on Film A contemporary of golden age directors such as Yasujirō Ozu and Kenji Mizoguchi, Hiroshi Shimizu has been intermittently neglected in international ci...
Unfolding Florence – The Many Lives of Florence Broadhurst (Gillian Armstrong, 2006) Jytte Holmqvist April 2021 CTEQ Annotations on Film Rich, fascinating, stylish and lush in colour, Gillian Armstrong’s 2006 documentary Unfolding Florence – The Many Lives of Florence Broadhurst (nomina...
Grandeur and Decadence: Luchino Visconti’s The Damned (1969) Wheeler Winston Dixon April 2021 CTEQ Annotations on Film Luchino Visconti’s La caduta degli dei (The Damned, 1969) is such an outrageously excessive and daring film that one wonders, in retrospect, how Visc...
Gillian Armstrong’s High Tide – A reworking of the Maternal Melodrama Gwendolyn Audrey Foster April 2021 CTEQ Annotations on Film Gillian Armstrong’s High Tide (1987) can be seen as a variant on the maternal melodrama. It centres around the struggles of a teenaged young mother wh...
‘You knew, of course, he was a homosexual’: Dirk Bogarde in Victim (Basil Dearden, 1961) Joanna Di Mattia April 2021 CTEQ Annotations on Film Basil Dearden’s 1961 film, Victim, represents a significant moment in British film history. Released into a world where sex between adult men in the U...
Despair (Rainer Werner Fassbinder, 1978) Martyn Bamber April 2021 CTEQ Annotations on Film Rainer Werner Fassbinder’s first English language film Despair (1978) is a fascinating entry in his filmography: while it is set in Germany, it is his...
Daddy Nostalgie (Bertrand Tavernier, 1990) Lee Hill April 2021 CTEQ Annotations on Film It is tempting to view Daddy Nostalgie (Bertrand Tavernier, 1990), Dirk Bogarde’s last film, as an actor’s swan song or as a great director’s meditati...
