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      The Thickening Centre: Fahrenheit 9/11

      Andreea Patru
      October 2004
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    • Horse-People and White Voices: Neoliberalism and Race in Sorry to Bother You

      Thomas Austin
      May 2023
    • The Exorcism of Sinister Ghosts: Saralisa Volm’s The Silent Forest

      Peter Verstraten
      May 2023
    • Spectatorial Labour: The Political Vision of Sergei Loznitsa’s Documentaries

      Santasil Mallik
      May 2023
    • When Knowledge Takes Over Action: A Narrative Analysis of Three Georgian Conflict-Sensitive Films: The Other Bank, Tangerines, and Corn Island

      Khatuna Maisashvili
      January 2023
    • Values of Baz Luhrmann’s Elvis: A Carnival Ride

      Laleen Jayamanne
      January 2023
    • Fellini’s Memory: Amarcord

      Bruce Jackson
      January 2023
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    • In Search of Lost Time: An Interview with Christophe Honoré

      Andreea Patru
      January 2023
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      Maria Giovanna Vagenas
      May 2023
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      Brigitta Wagner
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      Maja Korbecka
      May 2023
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      Purple Romero
      May 2023
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      Hamed Sarrafi
      May 2023
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      Yanjie Wang
      May 2023
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      Andreea Patru
      December 2011
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      Jeremy Carr
      May 2023
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      Benjamin Kooyman
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      Sherry Johnson
      January 2023
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      Giampiero Frasca
      January 2023
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      Jeremy Carr
      October 2022
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      Hal Young
      October 2022
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      Andreea Patru
      May 2022
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      Jacob Agius
      October 2022
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      Mark Lager
      May 2022
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      Jessica Balanzategui
      January 2022
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      Local and/or General… Of Time and Place at the 50th Karlovy Vary and 6th Odessa International Film Festival

      Andreea Patru
      September 2015
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      Sian Mitchell
      May 2023
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      Carmen Gray
      May 2023
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      Will DiGravio
      May 2023
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      Jay Kuehner
      May 2023
    • All the world’s a stage IFFR Critics’ Choice 9: PLAY

      Tara Judah
      May 2023
    • Sundance 2023 – Hybridity and Transgressive Heroes

      Bérénice Reynaud
      May 2023
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      Abigail Child’s This is Called Moving: A Critical Poetics of Film

      Andreea Patru
      August 2007
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      Holly Willis
      May 2023
    • Cinematic Bottom-Feeding: Why It’s OK to Love Bad Movies, by Matthew Strohl

      Sam Woolfe
      May 2023
    • For a Double-Edged Theory: Christian Metz’ Essais sur la signification au cinéma at 50

      Abel Muñoz Hénonin
      January 2023
    • Dennis Lim’s Tale of Cinema: A Meta-Monograph

      Marc Raymond
      January 2023
    • In search of a Global Filipino Auteur: Sine ni Lav Diaz, edited by Parichay Patra and Micheal Kho Lim

      Pujita Guha
      January 2023
    • Philosophy for the Blockbuster Audience: Christopher Nolan: Filmmaker and Philosopher, by Robbie B. H. Goh

      Tom Boniface-Webb
      October 2022
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      Beginning Again from Zero: Post-War Reconstruction: Germany Year Zero

      Andreea Patru
      May 2003
      CTEQ Annotations on Film
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      Jacob Agius
      May 2023
    • Afflictions of Pain and Desire: The River (Tsai Ming-liang, 1997)

      Alex Williams
      May 2023
    • The Wayward Cloud (Tsai Ming-liang, 2005)

      Amelia Leonard
      May 2023
    • Goodbye, Dragon Inn (Tsai Ming-liang, 2003)

      Andrew Le
      May 2023
    • The Skywalk is Gone (Tsai Ming-liang, 2002)

      Digby Houghton
      May 2023
    • What Time is it There? (Tsai Ming-liang, 2001)

      Jessica Balanzategui
      May 2023
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Author Andreea Patru

Andreea Patru

Andreea Patru is a Romanian film critic and programmer who resides in Spain. Her work has appeared in several international publications such as Vague Visages, Indiewire, Festivalists, Movie Mezzanine and Desistfilm. She took part in a couple of workshops such as Locarno Critics Academy (2015) and Talents Sarajevo (2016). Andreea is currently a programmer at Tenerife Shorts - Tenerife International Short Film Festival and she has previously worked for Romanian Film Promotion. 

Breaking the Synchronicity: An Interview with Rana Eid

Andreea Patru
October 2018
Feature Articles
The experience of war has been mediated through dramas usually exploring the classical distinction between good and evil, with clear protagonists and antagonists who confront either in blood-soaked battles or l...

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 history Las Palmas is a cosmopolitan and integrated city. Conq...
Cristi Puiu

“A World that Killed God”: An Interview with Cristi Puiu

Andreea Patru
September 2017
Feature Articles
“The godfather of the Romanian New Wave” is probably the most frequently used phrase to describe Cristi Puiu, the director who seemed to start this whole new aesthetic with his Un Certain Regard winning film T...

Established in Melbourne (Australia) in 1999, Senses of Cinema is one of the first online film journals of its kind and has set the standard for professional, high quality film-related content on the Internet.

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