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      The Chamber Films of Matías Piñeiro: Complexity and Intertextuality in Micro-Budget Filmmaking

      Darren Hughes
      July 2016
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    • Respecting the Lives of Others: Bergman Island, Hommage and Anaïs in Love

      Anthony McKibbin
      August 2022
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      Will Hair
      July 2022
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      Selen Ozturk
      July 2022
    • Suicide and Genius: Insights into One Episode of Akira Kurosawa’s Dreams

      Matthew Michaud & Justin Richardson
      July 2022
    • Interrogating Identity: The Fractal Self in Le petit soldat

      Michael James Beck
      July 2022
    • Bigger than life, or stranger: Pedro Costa’s Vitalina Varela: Part III

      Thomas Austin
      July 2022
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      Darren Hughes
      May 2022
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      Maja Korbecka
      July 2022
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      Maria Giovanna Vagenas
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      Savina Petkova
      May 2022
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      Silvia Spitta & Gerd Gemünden
      May 2022
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      Victor Paz
      May 2022
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      Madeleine Collier
      May 2022
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      Darren Hughes
      January 2003
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      Sanya Osha
      May 2022
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      Darragh O’Donoghue
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      Jeremy Carr
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      Tom Cunliffe
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      Charles Fairbanks
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      Dan Golding
      July 2021
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      Darren Hughes
      May 2022
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      Joy McEntee
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      Jeremy Carr
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      Jessica Balanzategui
      January 2022
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      Relative, But Also Absolute: The 53rd Sydney Film Festival

      Darren Hughes
      November 2006
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      Bérénice Reynaud
      August 2022
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      Cerise Howard
      August 2022
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      Daniel Fairfax
      August 2022
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      Roger Macy
      July 2022
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      Jonathan Mackris
      July 2022
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      Judith Pernin
      July 2022
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      Darren Hughes
      March 2013
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      Emmanuel Bonin
      July 2022
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      Kyle Barrowman
      May 2022
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      Tony McKibbin
      January 2022
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      Elroy Rosenberg
      January 2022
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      Steven Shaviro
      July 2021
    • West Side Story Redux: West Side Story: The Jets, the Sharks, and the Making of a Classic, by Richard Barrios

      Adrian Schober
      July 2021
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      The Only Son (Hitori Musuko)

      Darren Hughes
      July 2004
      CTEQ Annotations on Film
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    • Shadows of Forgotten Ancestors (Sergei Parajanov, 1965)

      Wheeler Winston Dixon
      July 2022
    • Shockproof (Douglas Sirk, 1949): The Insanity of Romantic Desire

      Wheeler Winston Dixon
      May 2022
    • The Grotesque Loves of Jealousy, Italian Style (Ettore Scola, 1970)

      Tiia Kelly
      May 2022
    • A Geography of Fractured Desire: Michelangelo Antonioni’s L’eclisse (1962)

      Danica van de Velde
      May 2022
    • Il Deserto Rosso (Red Desert, Michelangelo Antonioni, 1964)

      Boyd van Hoeij
      May 2022
    • ‘You Can’t Make an Omelette…’ – Modesty Blaise (Joseph Losey, 1966) and the Art of Breaking Eggs

      David Melville
      May 2022
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Author Darren Hughes

Darren Hughes

Darren Hughes is a freelance critic and co-founder/co-programmer of The Public Cinema in Knoxville, Tennessee.

A Decade+ in Review: The 2019 Toronto International Film Festival

Darren Hughes
October 2019
Festival Reports
On 31 December 2018, the fundraising arm of the Toronto International Film Festival sent a year-end email solicitation, urging recipients to support cinema by helping the organisation hit its annual target of 3...

Leadership Transitions, Critical Voices and Experimental Cinema at the 2018 Toronto International Film Festival

Darren Hughes
December 2018
Festival Reports
In 2018, the Toronto International Film Festival joined Sundance, Berlin, Locarno and Vienna in announcing major changes in leadership. After 36 years at TIFF, the final 24 of them as chief executive officer, P...
TIFF

Wavelengths at the 2017 Toronto International Film Festival

Darren Hughes
December 2017
Festival Reports
My conversations during the first two days of the 2017 Toronto International Film Festival were dominated by two subjects: Twin Peaks: The Return, which had aired its final episodes earlier in the week (and ult...
TIFF

Wavelengths at the 2016 Toronto International Film Festival

Darren Hughes
December 2016
Festival Reports
The 2016 Wavelengths shorts program opened auspiciously with Ana Mendieta’s Silueta Sangrienta (Bloody Silhouette). Made in 1975 in Iowa City, the two-minute, Super-8 film begins with a high-angle shot of Mendi...
Toronto International film festival review

No Home Movies: Wavelengths at the 2015 Toronto International Film Festival

Darren Hughes
December 2015
Festival Reports
The 2011 edition of the Toronto International Film Festival’s Wavelengths program included Mark Lewis’s short film, Black Mirror at the National Gallery, in which two bulky, fully articulated machines – one man...

Image Problems: The 2014 Toronto International Film Festival

Darren Hughes
December 2014
Festival Reports
Feature Image: I am Here “WTF is this movie?!” I scribbled this note midway through I Am Here, Fan Lixin’s trainwreck of a documentary about Super Boy, an American Idol-style talent show that is a ratings s...

Sheer Playfulness and Deadly Seriousness: On Watching Avant-Garde Shorts at the 43rd International Film Festival Rotterdam

Darren Hughes
March 2014
Festival Reports
“Most of the filmmakers I cover don’t get paid to make their films, so why should I expect to get paid to write about them?” – Michael Sicinski To get straight to the point: if the 2014 International Film Fest...

Reasoned Arguments: A Conversation with Frederick Wiseman about At Berkeley

Darren Hughes
December 2013
Feature Articles
Frederick Wiseman’s second documentary, High School (1968), was at the time of its release an unprecedented glimpse into America’s public education system. Throughout his career, Wiseman has bristled at the ter...

Cinema is Dead. Long Live Cinema. The 38th Annual Toronto International Film Festival

Darren Hughes
December 2013
Festival Reports
By coincidence, the 2013 Toronto International Film Festival began and ended for me with strikingly similar images. The first film I saw, Jafar Panahi’s Closed Curtain, opens with a minutes-long shot through a ...

A Conversation with Nicolas Rey

Darren Hughes
December 2012
Feature Articles
Nicolas Rey’s third feature film, differently, Molussia (2012), is an adaptation of a novel he’s never read. Written between 1932 and 1936, Günther Anders’s The Molussian Catacomb analyzes the rise of fascism...

Where More Meets MORE: The 37th Toronto International Film Festival

Darren Hughes
November 2012
Festival Reports
“Where OMG Meets WTF”. This was the first tagline I spotted at the 2012 Toronto International Film Festival. Others included “Where Fantasy Meets Reality”, “Where Indie Meets Epic”, “Where Wow Meets Huh?” an...

Nostalgia, Chaos, and Moments of Ecstasy: The 36th Toronto International Film Festival

Darren Hughes
December 2011
Festival Reports
Festival Business The opening weekend of the 2011 Toronto International Film Festival also signalled the beginning of TIFF’s second year in the $200 million dollar TIFF Bell Lightbox. The public side of the ...

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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