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  • Dossiers
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    • The Cinemas of Interactions: Cinematics and the ‘Game Effect’ in the Age of Digital Attractions

      Olivia Popp
      December 2010
      Feature Articles
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    • Crimes Against Reality: Speculation and the New Red Order

      Max Bowens & Candice Strongwater
      July 2026
    • Consent Puzzles in the Oslo Stories Trilogy by Dag Johan Haugerud

      Colette de Castro
      July 2026
    • The Eternal Return: The Battle of Algiers at 60

      Salvador Carrasco
      July 2026
    • Beyond Revolution as Romance: On the Enduring Relevance of Humberto Solás’ Lucía

      Pritish Das
      July 2026
    • Bee and Bresson: Pickpocket and its Painting

      Leonard Schwartz
      July 2026
    • A Cinema of Survivances: On Lucrecia Martel’s Nuestra tierra

      Jens Andermann
      May 2026
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    • Interview: Sergei Loznitsa on his new film The Trial

      Olivia Popp
      July 2019
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    • An Interview with Giulio Bertelli

      Gary M. Kramer
      July 2026
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      Amanda Barbour
      July 2026
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      Tùng Bạch Đăng
      July 2026
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      Arindam Sen
      July 2026
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      Botagoz Koilybayeva
      July 2026
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      Gary M. Kramer
      July 2026
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      Olivia Popp
      April 2004
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      Florian Zappe
      July 2026
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      Patrick F. Campos
      July 2026
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      Nicholas Buccheri
      July 2026
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      Sherry Johnson
      May 2026
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      Steve Johnson
      January 2026
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      Ashish Dwivedi
      November 2025
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      Olivia Popp
      October 2022
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      Tony Williams
      May 2026
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      Andy Hageman
      January 2026
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      Indigo Bailey
      November 2025
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      Colette de Castro
      July 2025
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      Tony Williams
      May 2025
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      Tony Williams
      May 2025
  • Festival Reports
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      The 49th Melbourne International Film Festival, or: How I Learned to Give Up Resisting, and Consume Hours and Hours of the Moving Image

      Olivia Popp
      July 2000
      Festival Reports
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    • Korean Cinephilia and Its Possible Futures: The 27th Jeonju International Film Festival

      Marc Raymond
      July 2026
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      Daichi Ogi
      July 2026
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      Susana Bessa
      July 2026
    • The hottest ticket in town: the 40th Il Cinema Ritrovato

      Stefan Solomon
      July 2026
    • Shanghai IFF 2026: Things that Change, Things that Don’t

      Maja Korbecka
      July 2026
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      Botagoz Koilybayeva
      May 2026
  • Book Reviews
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    • Cinematic Bottom-Feeding: Why It’s OK to Love Bad Movies, by Matthew Strohl

      Olivia Popp
      May 2023
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    • Feeling the Screen Story’s Pulse: Karen Peralman’s Cutting Rhythms: Creative Film Editing

      Mark Seton
      July 2026
    • The Material Ghosts of Bombay Horror

      Ragib Rahman
      July 2026
    • Cinephilia Reconsidered: Dorothy Wai Sim Lau’s East Asian Auteurism, Cinephilia and the Media Platform Era

      Jiahan Olivia Lin
      July 2026
    • A Radical Resurgence from the Rubble: Duncan Reekie’s BOOM! The Exploding Cinema and the New London Underground

      Wheeler Winston Dixon
      May 2026
    • Fame amid the Ruins: Italian Film Stardom in the age of Neorealism by Stephen Gundle

      Ashish Dwivedi
      May 2026
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      Scott Robinson
      May 2026
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    • Something Different - Eva Practicing

      Something Different (Věra Chytilová, 1963)

      Olivia Popp
      June 2018
      CTEQ Annotations on Film
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    • Filmmaking at the end of the world: The Quiet Earth

      Gregory Bennett
      August 2026
    • Porno, Disco, and Summer of Sam: Spike Lee on Sexuality

      Desirae Embree
      July 2026
    • 4 Little Girls

      Darragh O’Donoghue
      July 2026
    • A Pedagogy of Resistance: From Double Consciousness to the Unified Self in Spike Lee’s Malcolm X

      Sandra E. Lim
      July 2026
    • 25th Hour

      Michael Green
      July 2026
    • School Daze-d and Confused

      Sebastian Carrasco
      July 2026
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Author Olivia Popp

Olivia Popp

Olivia Popp is a film writer, critic, and programmer based in Berlin. Her work can primarily be found in the European trade publication Cineuropa alongside bylines in MUBI Notebook, Little White Lies, Screen Slate, Zippy Frames, and Modern Times Review. She also serves as a programmer for One World Slovakia Documentary Film Festival and is a co-founder of Purple Hour, a new queer cinema publication. Olivia is an alumna of Berlinale Talents (2024) and Locarno Critics Academy (2025).

Where Else to Look but Around: The Making of North Atlantic Cinema at Stockfish 2026

Olivia Popp
May 2026
Festival Reports
It was Reykjavík’s heaviest snowstorm since last October that initially delayed my arrival to the world’s northernmost capital for the 12th edition of Stockfish Film & Industry Festival, the country’s artho...

Sarajevo, As Told By Other People: The 31st Sarajevo Film Festival

Olivia Popp
November 2025
Festival Reports
Every so often it becomes necessary to rewatch this iconic bit from Slovenian philosopher Slavoj Žižek, "Where is Balkan?", a lighthearted reminder of just how relative our (royal “we”) perception of provincial...

Autoethnographic Encounters: The 56th Visions du Réel

Olivia Popp
July 2025
Festival Reports
Unspooling every spring in Nyon, Visions du Réel is known as the largest documentary film festival in Switzerland, as well as one of Europe’s most renowned. But on the shores of the ever-picturesque Lake Geneva...

57th Sitges Film Festival: Audience First

Olivia Popp
January 2025
Festival Reports
As a self-proclaimed “longtime genre film fan”, it felt fortuitous to end up at Spain’s 57th Sitges Film Festival (or in its extended form, the Sitges International Fantastic Film Festival of Catalonia, running...

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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Leonardo Goi • Abel Muñoz-Hénonin • Fiona Villella • Alex Williams • Nace Zavrl

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