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    • Ava Gardner

      Paolo Bertolin
      December 2010
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    • Bigger than life, or stranger: Pedro Costa’s Vitalina Varela: Part II

      Thomas Austin
      May 2022
    • Fire Machines: Titane and the Pyrotechnics of Love

      Emmalea Russo
      May 2022
    • Cringing Violently: Reparative Watching, Phenomenology and Discomfort in Australian Cinema

      Caitlin Wilson
      May 2022
    • Deleuzian Rumblings: Residue by Desire Machine Collective

      Vedant Srinivas
      May 2022
    • Acts of Faith: On Benedetta (Paul Verhoeven, 2021)

      Peter Verstraten
      May 2022
    • ‘Is The Power of the Dog a New Zealand film? National Identity, Genre and Jane Campion’

      Alfio Leotta & Missy Molloy
      May 2022
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    • “Sometimes it is easier to forget.” - A Conversation with Dieudo Hamadi

      Paolo Bertolin
      January 2021
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    • Human is only human when vulnerable: An Interview With Michel Franco

      Savina Petkova
      May 2022
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      Silvia Spitta & Gerd Gemünden
      May 2022
    • “The Act of Filming is an Inner and Physical Journey in Itself”: Interview with Helke Misselwitz

      Victor Paz
      May 2022
    • Information as a music video, comedy as a diagram: Beny Wagner & Sasha Litvintseva in conversation

      Madeleine Collier
      May 2022
    • The Creative Leap to Fluid Consciousness: An Encounter with Ashley McKenzie

      Brigitta Wagner
      May 2022
    • Interview with Albert Birney & Kentucker Audley

      Nolan Kelly
      May 2022
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      Paolo Bertolin
      July 2003
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      Sanya Osha
      May 2022
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      Darragh O’Donoghue
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      Jeremy Carr
      January 2022
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      Tom Cunliffe
      January 2022
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      Charles Fairbanks
      January 2022
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      Dan Golding
      July 2021
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      Paolo Bertolin
      May 2022
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      Joy McEntee
      May 2022
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      Wheeler Winston Dixon
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      Mark Lager
      May 2022
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      Jessica Balanzategui
      January 2022
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      Wavelengths at the 2017 Toronto International Film Festival

      Paolo Bertolin
      December 2017
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      Madeleine Collier
      May 2022
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      Tara Judah
      May 2022
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      Tara Judah
      May 2022
    • From Within the Umbra of History: A Few Things about the Films of Rainer Komers, Sohrab Hura and Sylvia Schedelbauer

      Anuj Malhotra
      May 2022
    • Film Goes On (?): The 23rd Jeonju International Film Festival

      Marc Raymond
      May 2022
    • Play-Doc 2022: António Campos, a secret filmmaker

      Ricardo Vieira Lisboa
      May 2022
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      Shepperton Babylon by Matthew Sweet

      Paolo Bertolin
      February 2006
      Book Reviews
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    • How to Do Things with Camera Movement: The Lure of the Image: Epistemic Fantasies of the Moving Camera, by Daniel Morgan

      Kyle Barrowman
      May 2022
    • The Depths of Empiricism: Werner Herzog: Ecstatic Truth and Other Useless Conquests, by Kristoffer Hegnsvad

      Tony McKibbin
      January 2022
    • Hollywood, Reinvented: Shooting Midnight Cowboy: Art, Sex, Loneliness, Liberation, and the Making of a Dark Classic, by Glenn Frankel

      Elroy Rosenberg
      January 2022
    • Rhythm and Light: Poetic Cinema and the Spirit of the Gift in the Films of Pabst, Parajanov, Kubrick, and Ruiz, by Laleen Jayamanne

      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
    • Foraging in a Transforming Mediascape: Cinemas Dark and Slow in Digital India, by Lalitha Gopalan

      Megan Carrigy
      July 2021
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      The Tailor, the Filmmaker and the Cop: A Moment of Innocence

      Paolo Bertolin
      July 2002
      CTEQ Annotations on Film
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    • 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
    • Fritz Lang’s Spione (1928)

      Shari Kizirian
      May 2022
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Author Paolo Bertolin

Paolo Bertolin

Paolo Bertolin is an Italian film critic and journalist. He has contributed to a wide range of Italian publications, including film magazine Cineforum and newspaper Il Manifesto. His writings in English include articles for The Korea Times, The Jakarta Post and on www.koreanfilm.org.

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My Mother’s Smile

Paolo Bertolin
July 2006
CTEQ Annotations on Film
My Mother’s Smile/Il sorriso di mia madre/L’Ora di religione (2002 Italy 105 mins) Source: Palace Prod Co: Filmalbatros S.r.l/Rai Cinemafiction/Telepiù Prod: Marco Bellocchio, Sergio Pelone Dir, Scr: Mar...
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My Un-queer Pusan: Or How I Got into an Argument with The Unforgiven: The 10th Pusan International Film Festival

Paolo Bertolin
February 2006
Festival Reports
October 6–14, 2005 The 10th edition of Pusan International Film Festival (PIFF), which ran 6-14 October 2005, was a well-concerted celebration of Korean grandeur. One laden with nationalistic pride, as a...
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The Cannes Files: (some para-text to Cannes 2005): Cannes International Film Festival

Paolo Bertolin
July 2005
Festival Reports
May 11–22, 2005 Front cover: disclaimer? I returned from Cannes with my mind full of images, reflections and discussions about the 48 films from the various official and non-official selections (1) I sa...
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The Festival with No Limits: Rotterdam International Film Festival

Paolo Bertolin
April 2005
Festival Reports
January 26–February 6, 2005 Critics, film journalists and cinephiles tend to describe the Rotterdam International Film Festival (IFFR) as a cutting-edge, adventurous festival, an event where the multipl...

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