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A child in a red cap goes to deliver lunch to Grandmother’s house but never returns. Except 6 years later, he does, cut from the belly of the big bad city. There’s no ambiguity in Olivier Olivier as to its rela...

In the late 1970s, Catherine Berge’s encounter with both the films and person of King Vidor was a seminal turning point in her life. Here, she talks about her personal history with the director and her 1980 film devoted to him.

Often seen as the figurehead of the so-called “mumblecore” cineastes, Joe Swanberg discusses the aesthetic and technological practices that inform this indie phenomenon.

“Back to the city where we’re born and we die Melbourne as usual with clouds in the sky.” - from Melbourne Wedding Belle (1953) When then Premier Jeff Kennett gleefully announced that Melbourne’s municipal r...

I have a confession to make. I have known about Udine’s Far East Film Festival (FEFF) since its inception in 1999. But somehow I had never made it until this year. After a shamefully short flying visit, I know ...

Part One: Ebru April means rain in Istanbul and biting winds sweeping down from Russia – at least that’s what they feel like. While on the one hand the rain complements the film festival, on the other, it ha...

Stepping off the TGV at Cannes-Ville railway station, and onto the Rue Jean-Jaurès early on a Wednesday afternoon, the sentiment becomes palpable. The heaving throng of people being disgorged from the station e...

Rainer Werner Fassbinder’s films create an intriguing dialogue between subject and spectator where opposing fabrics of the social and personal are profoundly interwoven. It is not enough to presume that an exch...

Two important figures of the cinephilic landscape left Los Angeles in 2010. One was Rose Kuo, who since 2007 had assumed the direction of the AFI Film Festival; the other was Scott Foundas, film editor of The L...

A typically colourful, good-natured and silly romp from director-producer-legend Tsui Hark, this historical-romantic-slapstick comedy takes a time-honoured romantic storyline and spins it into a lot of daft com...

The misty mornings and evenings at the Thessaloniki International Film Festival evoke a cinematic atmosphere that by turn feels celebratory and melancholy. In the time of the IMF and European Union Memorandum, ...

Taking their cue from the theatre-going exercise that was Chacun son cinema, the editors of this dossier canvassed an international spectrum of scholars and cinephiles on their seminal moments and reflections in general on movie-going.

Contemporaneous with the French New Wave, there were many filmmakers working in France of African origin whose work has rarely been absorbed into the cultural and aesthetic history of the movement. Wes Felton surveys the era to examine the blind spots.

History weighs heavy around the pretty neck of Madame Dubarry. The story of a young grisette in a Paris hat shop who coquettes her way to the top, it is set on the eve of the French Revolution and was made in t...

Ernst Lubitsch’s meteoric German career spanned ten years, with him acting in about a dozen films before directing several dozen shorts and twelve features. The shorts Lubitsch featured in or directed were main...

This valuable resource book begins in London, in late September 1960, where two films were shooting at Pinewood Studios. One was the notorious 20th Century-Fox production of Cleopatra (Joseph L. Mankiewicz, 196...

During his opening night address that officially set this year’s Revelation in motion, festival chairman Richard Sowada informed the packed auditorium that film was in fact just a small part of the festival, th...

Another Opening, Another Show In Joe Dante’s satirical Small Soldiers (1998), a range of high-tech action figures is marketed under the slogan “Everything Else Is Just a Toy.” Perhaps this year’s Melbourne I...

Little known outside his homeland, Spanish filmmaker and visual artist Iván Zulueta’s career spanned the Franco and post-Franco era. In that time he made a range of experimental, underground films. Matthew Losada brings to light the artist’s life and work.

Where does Rico Ilarde sit in the Filipino film scene? And, how does one account for the myriad of influences (cinematic and cultural) that course through his films? Noel Vera provides an indepth auteurist study.

Once, and appropriately, Melbourne based filmmaker Leo Berkeley went under the moniker of “last of the independents”. Having shaped a decades-long body of work on the fringes of the industry, he talks at length about the filmmaking principles that inform his work.

On the evidence of this absorbing and articulate interview alone, Dominik Graf is worthy of being better know outside the borders of the German speaking world. He not only offers insights into his own filmmaking practice and aesthetic, but also a range of fascinating observations covering the last forty or so years of German cinema and cultural history.

Few would have missed the chorus of lament sung mostly by the American and British press about this year’s Cannes Film Festival. Now a standard response from the corporate and grassroots press who file regular ...

Handsome Men and Narrative Holes – Rob Epstein and Jeffrey Friedman’s Howl (US Dramatic Competition) The best thing you could say about the Opening Night film Howl, was that it gave you the desire to (re)rea...

Can a producer be considered an auteur? Possibly not, but Tom Stempel offers insights in to how Zanuck’s personal view of American history stamped the many films he produced during his reign as a studio mogul.

Lisa Dombrowski’s The Films of Samuel Fuller: If You Die, I’ll Kill You! is an important contribution to the growing scholarship on and broader cultural fascination with the work of the self-consciously iconocl...

Odd Man Out With the plurality of choices it offers, a film festival constitutes a meta-text – and what you write about, ultimately, is your own journey within the grid of the published schedule, like a Baud...

The image – plastered on the front windows of the various participating cinemas, on the cover of the ubiquitous program guides clutched by patrons as they stand in line, posted at spots around town – calls out ...

I New wine in an old bottle? Such was the challenge faced by Rose Kuo, when she became AFI Fest’s artistic director in 2007. Now it seems that wine has spilled out and flown in a different direction. In other ...

Jacob Leigh looks into both the production history and the general cultural influences that inform Rohmer’s first-produced but fourth listed of the feature length ‘Moral Tales’.

There is no getting around it, as a director, Dennis Hopper’s name will live on almost exclusively on the basis of Easy Rider. But the authorship of that film is nowhere near a clear-cut proposition, nor its legacy.

Numerous contributors from across the globe offer their selections and thoughts on their movie-going experiences in 2009. Readers should find it a fascinating overview of cinema from a multitude of countries and cultures.

This is an essential book on one of the most explosive film movements in recent memory, rivalling the prodigious output of Iranian films in the 1990s; the Nigerian feature film industry, which, working almost e...

Citizen Kane, rightly so, owes much of its fame to its deep-focus effects, but Orson Welles’ staging of shots also points to a whole host of pictorial references. Michael Riedlinger’s analysis uncovers Welles’ ‘painterly’ eye for composition.

Elder brother to John Ford, Francis Ford had a long and distinguished career – as actor, director, writer, producer – in his own right. His influence on the younger, and more famous, Ford was far more complex than first imagined.

Film historian and filmmaker, Richard Schickel, talks at length about his documentary on the history of Warner Bros. studio from its early beginnings to the present. It makes for a fascinating and possibly unique tale in the context of the Hollywood studio system.