Author Daniel Fairfax

“Back to normal” was undoubtedly the prevailing ethos of this year’s Cannes film festival. This was to be expected after the cancellation of the festival in 2020, with even the powers-that-be at Cannes having t...

Critic, film theorist and filmmaker, Jean-Louis Comolli died in his adoptive home city of Paris on May 19, 2022, at the age of 80. An editor of Cahiers du Cinéma from 1965 to 1973, his international reputation ...

On June 9, 1971, Jean-Luc Godard suffered from a sickening traffic accident, with the motorcycle that he used to zip around Paris colliding with a van. He was immediately taken to an intensive care unit, and wi...

Having gained attention on the film festival circuit with his essayistic found-footage retelling of the history of West Germany’s Rote Armee Fraktion (RAF) in Une jeunesse allemande (A German Youth, 2015, the F...

1.  Of all the phases of Godard’s now seven-decade career in the cinema, it is his period of avowedly militantly filmmaking from 1968 to 1972, made when he explicitly identified as a Maoist and subsumed his au...

How does it feel to return to the cinema? I asked myself this question as my plane taxied on the runway at Nice airport one fine July morning, the shimmering waters of the Mediterranean to my right, the hilly l...

Few recent books in film and media studies can match the ambition Lee Grieveson set himself with Cinema and the Wealth of Nations: Media, Capital, and the Liberal World System, and even fewer have delivered in ...

Thomas Elsaesser, a truly titanic figure in film studies, passed away unexpectedly at the age of 76 on December 4, 2019, while on a teaching assignment in Beijing. His death casts a long shadow over the field. ...

Stanley Kubrick’s The Shining (1980) has gained notoriety not only for the sheer quantity of critical analysis it has produced, a voluminous outpouring of exegesis from scholars, critics and fans alike that sho...

I must confess, loyal reader, that there can occasionally be something of a lag between the end of a film festival that I am covering and the moment when I finally transform my scattered thoughts into a legible...

It has become a truism, now, to speak of the global proliferation of film festivals in the last few decades. Worldwide, they presently number in the thousands, across all the continents, taking place at all tim...

The filmmaking couple Jean-Marie Straub and Danièle Huillet were fond of describing their film Der Tod des Empedokles (The Death of Empedocles, 1986) as a “communist utopia”. Evidently, it was the Hölderlin tex...

In the years following Danièle Huillet’s death, Jean-Marie Straub was something of a fixture in the Parisian repertory cinema scene. As retrospective programmes of the couple’s work played across the city, he w...

Originally published in Senses of Cinema issue 84, September 2017. One of the world’s foremost theorists of sound in the cinema, former Cahiers du cinéma critic Michel Chion is also a composer of musique con...

In his recent book, Clear Bright Future, the British political theorist Paul Mason admits to having recently experienced a moment of uncanny bewilderment. Walking down a UK high street, he was struck by the see...

There is a slight retro effect to the triple-barreled title of Nico Baumbach’s book, with the pair of solidi separating-conjoining the terms “cinema”, “politics” and “philosophy”. Is the writer not harking back...

Picture this, dear reader: from the very beginning of this year’s Cannes film festival, I had been having nightmares about the prospect of getting into the inaugural press screening of Quentin Tarantino’s Once ...

One of the things that Australian cinema has for a long time been lacking in is, not to put to a fine a point on it, poetry. But if there is any filmmaker who is striving to change this situation, then it is Am...

In the wake of recent political events that have shaken the four-decade-long neoliberal consensus, sundering the political terrain of the major Western nations into a resurgent far left and an emboldened extrem...

Critic at Cahiers du cinéma, filmmaker, globally recognised auteur. The trajectory is a familiar one, particularly for a French cinephile born in 1930, and thus belonging to the same generation as François Truf...

“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 Livre d’image (The Image Book), the latest entry in the her...

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 century pining for the lost past of the mid-1890s. With the ...

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 Pickpocket (1959), Pasolini’s Accatone (1960), Stroheim’s Greed (1...

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 deliriously idiosyncratic as Diamantino, a film which, with i...

Since roughly the early 1980s, we have lived through a grand mutation in visual culture, one that has accompanied the socio-political transformations wrought by nearly four decades of global neoliberal capitali...

Adapting the Cinema to Shakespeare: Hamlet (Grigori Kozintsev, 1964) It is perhaps a measure of the state of Soviet film culture in the Khrushchev era that the country’s highest grossing film of 1964 was a 140...

Should a space alien come down to Earth and ask for guidance on the state of film and media studies, I could hardly think of better advice for this inquisitive extraterrestrial than to consult Thomas Elsaesser’...

There is a provocative dimension, perhaps, in the title of this dossier: one hundred years of Soviet cinema? How is this possible, if the USSR itself, as a geopolitical entity, only lasted seven decades, before...

One of the world’s foremost theorists of sound in the cinema, former Cahiers du cinéma critic Michel Chion is also a composer of musique concrète and a filmmaker in his own right. His books of film theory inclu...

In the last fifteen years, no less than three biographies have been dedicated to Jean-Luc Godard. Of the three, Richard Brody’s Everything is Cinema: The Working Life of Jean-Luc Godard from 2008 is indisputabl...

Cannes, as we all know, is essentially a scandal-making machine. More than any other film festival, Cannes has had controversy baked into its DNA from the very beginning of its now 70-year history, and it somet...

The cinema is in crisis, and it has been since 1895. This is only partly a joke. Louis Lumière mythically remarked that the cinema was “an invention without a future” soon after the first public screenings of t...

One of the doyens of French film studies, Jacques Aumont began as a critic at Cahiers du cinéma under editors Jean-Louis Comolli and Jean Narboni. After leaving Cahiers, he moved into academia, with his dissert...

Outside of France, Jean-Louis Comolli is principally known in the film studies world for his stint as the editor of Cahiers du cinéma in the years 1965-1973, a period during which his name was attached to such ...

One of the Young Turks of semiotic film theory in the 1970s, counting Umberto Eco and Christian Metz among his mentors, Francesco Casetti established himself as a major figure in the field of film studies in It...