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  • Dossiers
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    • Marker, Resnais, Varda: Remembering the Left Bank Group

      Hugo Emmerzael
      September 2009
      Feature Articles
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    • Film Criticism and the Grotesque: A Very American Tár & an Oz Elvis

      Laleen Jayamanne
      August 2023
    • The aesthetics and politics of melodrama, reconsidered: Delitto d’amore / Crime of Love

      Thomas Austin
      August 2023
    • 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
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    • “Resistance is the driving force of the film”: An Interview with Davy Chou

      Hugo Emmerzael
      July 2022
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    • “Can You Prefigure Reality?”: A Conversation with Christoph Hochhäusler on his new film, Bis ans Ende der Nacht (Till the End of the Night)

      Marco Abel
      August 2023
    • The Klezmer Project (Adentro Mío Estoy Bailanado): A Conversation with Leandro Koch and Paloma Schachmann

      Maria Giovanna Vagenas
      August 2023
    • Chunky Shrapnel: A Conversation with John Angus Stewart

      C.S. Harper
      August 2023
    • A Cinematic Sojourn to the Land of Awe and Astonishment: Interview with Laura Citarella about El Pampero Cine and Trenque Lauquen

      Hamed Sarrafi
      August 2023
    • Here: An Interview with Bas Devos

      Maria Giovanna Vagenas
      May 2023
    • A Different Kind of Love Story: An Interview with Dustin Guy Defa

      Brigitta Wagner
      May 2023
  • Great Directors
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    • Kolm-Fleck, Louise

      Hugo Emmerzael
      October 2004
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      Jeremy Carr
      May 2023
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      Benjamin Kooyman
      May 2023
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      Sherry Johnson
      January 2023
    • Cimino, Michael

      Giampiero Frasca
      January 2023
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      Jeremy Carr
      October 2022
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      Hal Young
      October 2022
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      Hugo Emmerzael
      January 2022
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      Eloise Ross
      August 2023
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      Wheeler Winston Dixon
      May 2023
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      Jacob Agius
      October 2022
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      Joy McEntee
      May 2022
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      Wheeler Winston Dixon
      May 2022
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      Jeremy Carr
      May 2022
  • Festival Reports
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    • The 22nd Transilvania International Film Festival: Open-world Stimulations

      Hugo Emmerzael
      August 2023
      Festival Reports
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    • Towards A Domestic Cinephilia: The 24th Jeonju International Film Festival

      Marc Raymond
      August 2023
    • Direct Cinephilia: Play-Doc 2023

      Fedor Tot
      August 2023
    • Stardust chronicle, a report from the 69th Internationale Kurzfilmtage Oberhausen

      Arindam Sen
      August 2023
    • Rising from the ashes: The 47th Hong Kong International Film Festival

      Maja Korbecka
      August 2023
    • Searching for Eros: the 76th Cannes Film Festival

      Savina Petkova
      August 2023
    • Prismatic Ground 2023: Labour Seen

      Will DiGravio
      August 2023
  • Book Reviews
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    • Road Trip Through A Cinematically-Constructed America: The Imaginary Geography of Hollywood Cinema, 1960-2000 by Christian B. Long

      Hugo Emmerzael
      June 2018
      Book Reviews
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    • The Rebellious and the Rigorous: The Red Years of Cahiers du cinéma (1968-1973), by Daniel Fairfax

      Tony McKibbin
      August 2023
    • A Journey through Serge Daney’s Cinema House

      Emmanuel Bonin
      August 2023
    • Bloody, Raging Females: Five Books Examine Contemporary Feminist Horror Films

      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
  • CTEQ
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    • La ronde

      Hugo Emmerzael
      April 2010
      CTEQ Annotations on Film
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    • Heave Ho! (Martin Frič, 1934)

      Faith Everard
      September 2023
    • Tomorrow I’ll Wake Up and Scald Myself with Tea (Jindřich Polák, 1977)

      Danica van de Velde
      September 2023
    • The Woman Suffers: “South Australia’s greatest film production” (Raymond Longford, 1918)

      Stephen Gaunson
      September 2023
    • The Sentimental Bloke (Raymond Longford, 1918)

      Darragh O’Donoghue
      September 2023
    • The Fading Kouros of Razzia sur la chnouf (Henri Decoin, 1955)

      Grant Bromley
      September 2023
    • Scenes from a Manhunt – Panique (Julien Duvivier, 1946)

      Rolland Man
      August 2023
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Author Hugo Emmerzael

Hugo Emmerzael

Hugo Emmerzael is a film critic and programmer based in Amsterdam. He is an editor of monthly independent Dutch film magazine, De Filmkrant, with other writings published in MUBI Notebook, Electric Ghost Magazine, Frame.Land, VPRO and more. Hugo works as a programmer for various arthouse theatres in the Netherlands, CinemAsia Film Festival and as the Director’s Forum curator of Netherlands Film Festival.

“Can I get an encore?” On “Numb/Encore” in Michael Mann’s Miami Vice (2006)

Hugo Emmerzael
October 2020
Pop Music in Film
Well, I've been waiting for this moment for all my life, oh Lord. -Phil Collins, “In The Air Tonight” I'm in, Boeing jets, Global Express Out the country but the Blueberry still connect. -JAY-Z, “Numb/En...

Reaching Into History: Radu Jude on Uppercase Print and The Exit of the Trains

Hugo Emmerzael
April 2020
Conversations with Filmmakers Across the Globe
When Radu Jude emerged on the film festival circuit in 2009 with his feature debut, Cea mal ferictã fatã din lume (The Happiest Girl in the World), he was closely associated with the second salvo of directors f...

Rome, Open City: A Conversation with Abel Ferrara

Hugo Emmerzael
July 2019
Interviews
Welcome to Rome, where the film provocateur behind seedy New York City classics like Ms .45 (1981), King of New York (1990) and Bad Lieutenant (1992) has taken up his residence. After a run of films and documen...

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.

Senses of Cinema was founded on stolen lands. We acknowledge the sovereignty of the Wurundjeri and Boon Wurrung people of the Kulin nation and support all Aboriginal people on their paths to self-determination.

 

© Senses of Cinema 2019

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César Albarrán-Torres • Amanda Barbour • Tara Judah • Abel Muñoz-Hénonin • Fiona Villella

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