Filmmaking at the end of the world: The Quiet Earth Gregory Bennett August 2026 CTEQ Annotations on Film Is there a more convincing definition of Aotearoa New Zealand cinema than Geoff Murphy’s three-film directorial run of Goodbye Pork Pie (1981), Utu (1...
Porno, Disco, and Summer of Sam: Spike Lee on Sexuality Desirae Embree July 2026 CTEQ Annotations on Film At the time of its release Summer of Sam (1999) was seen as a notable departure for Spike Lee, whose body of work up to that point had been predominat...
4 Little Girls Darragh O’Donoghue July 2026 CTEQ Annotations on Film The most memorable moment in Spike Lee’s documentary 4 Little Girls (1997) occurs nearly halfway through, as two veterans remember participating in th...
A Pedagogy of Resistance: From Double Consciousness to the Unified Self in Spike Lee’s Malcolm X Sandra E. Lim July 2026 CTEQ Annotations on Film The first few minutes of Spike Lee’s Malcolm X (1992) are easy to miss. The Warner Brothers logo appears against a cotton-ball cerulean sky. A voiceov...
25th Hour Michael Green July 2026 CTEQ Annotations on Film “Wake the fuck up. It’s over after tonight.” This line is uttered by Frank (Barry Pepper) to his buddy Jacob (Philip Seymour Hoffman) in Spike Lee’...
School Daze-d and Confused Sebastian Carrasco July 2026 CTEQ Annotations on Film What would you have done in moments of great fracture and systemic injustice? We tend to think of ourselves as moral beings, always standing firm and ...
About Endlessness Martyn Bamber June 2026 CTEQ Annotations on Film 1. Anecdotes The other day, I don’t know if it was in Stockholm or London. Pouring rain. I saw a little girl, about seven years old, holding an umbre...
In the Afterglow: Roy Andersson’s A Pigeon Sat on a Branch Reflecting on Existence Adrian Danks June 2026 CTEQ Annotations on Film Roy Andersson’s En duva satt på en gren och funderade på tillvaron (A Pigeon Sat on a Branch Reflecting on Existence, 2014) is the final part of his “...
You, The Living Jamie Jungyoon Tak June 2026 CTEQ Annotations on Film ‘Be pleased then, you, the living, in your delightfully warmed bed, before Lethe’s ice-cold wave licks your escaping foot.’ – Johann Wolfgang von...
Nine Commercials by Roy Andersson Iris Chen June 2026 CTEQ Annotations on Film The characters in a Roy Andersson advertisement wear whiteface: a memento mori. It’s one of the reasons why one watches these otherwise ordinary scene...
Summer Pleasure: Swedish Naturalist Painting in A Swedish Love Story Eli Vannata June 2026 CTEQ Annotations on Film En Kärlekshistoria (A Swedish Love Story, Roy Andersson, 1970) is a unique film in a body of work known for its idiosyncrasy. Watching Roy Andersson’s...
Human Poems: Roy Andersson’s Songs from the Second Floor Cerise Howard June 2026 CTEQ Annotations on Film In 1970, a Swedish filmmaker in his mid-twenties became an instant critical darling with his debut feature: a lyrical, Czechoslovak New Wave-inflected...
Life Without Principle: “I Understand Completely” Sankeerthna Vedamtam May 2026 CTEQ Annotations on Film It is both grimly amusing and frankly unsurprising that the entire global economic system again seems on the verge of collapse, à la 2008’s global fin...
Running on Karma Faith Everard May 2026 CTEQ Annotations on Film All the world will be your enemy, Prince With a Thousand Enemies – Watership Down Though Dai zek lo (Running on Karma, Johnnie To, 2003) follows B...
Knives Out: Johnnie To’s Election Kevin Bui May 2026 CTEQ Annotations on Film “If I betray the trust of my sworn brothers, then I shall be killed by ten thousand knives.” – The 36 Oaths of the Triad Initiation Ceremony Acc...
Away From Her Grace Boschetti May 2026 CTEQ Annotations on Film Although she was only in her 20s, Sarah Polley was already a veteran actress when she set out to direct her first feature film. For this intended debu...
Through the Looking Glass: The Gold Diggers Isabella Gullifer-Laurie May 2026 CTEQ Annotations on Film Sally Potter characterised her first feature, The Gold Diggers (1983), as “a musical describing a female quest.” A labyrinthine, post-punk exploration...
The Go-Between Gabrielle O'Brien May 2026 CTEQ Annotations on Film Based upon L.P. Hartley’s 1953 novel, The Go-Between (Joseph Losey, 1971) is an elegant film in its pristine formal composition and beguiling Edwardia...
Billy Liar Peter A. Yacavone April 2026 CTEQ Annotations on Film Film studies has never properly reckoned with film performance. As its scholars are primarily concerned with the cultural symbology and influence of s...
The Girl in the Empty Dress – Julie Christie and Darling David Melville April 2026 CTEQ Annotations on Film HE: How do you feel? SHE: Empty. – Dirk Bogarde and Julie Christie, Darling The iconic opening scene of Darling (John Schlesinger, 1965) shows th...
The Sound of Waves Iris Chen April 2026 CTEQ Annotations on Film Photographs and films cannot show you that the 2011 Tōhoku earthquake was “the most powerful earthquake ever recorded in Japan” nor say outright that ...
Heaven Is Still Far Away Andréas Giannopoulos April 2026 CTEQ Annotations on Film “A lot of journalists have asked me why my characters are always roleplaying If somebody wants to be or have something, the fastest way to make it ha...
Lost in a dream: Hamaguchi Ryūsuke’s Asako I & II Danica van de Velde April 2026 CTEQ Annotations on Film The prologue of Hamaguchi Ryūsuke’s Nete mo samete mo (Asako I & II, 2018) is imbued with the adrenaline-inducing intoxication of love at first si...
I Love Thee For Good and Like Nothing Happened Darragh O’Donoghue April 2026 CTEQ Annotations on Film Archaic and awkward in its phrasing, the English title of Eien ni kimi wo aisu (I Love Thee For Good, Hamaguchi Ryūsuke, 2009) refers to a wedding, an...
Between Stops: Non-Places in Wheel of Fortune and Fantasy Tito Ramos Quiling, Jnr. April 2026 CTEQ Annotations on Film A woman steps onto an escalator in Sendai Station. She believes she recognises someone on the ascending side – a face from 20 years ago, a friend she ...
“To all those who said we couldn’t do it – get stuffed!”: 27A Stephen Gaunson March 2026 CTEQ Annotations on Film Esben Storm and Haydn Keenan first crossed paths at University High School in Melbourne in a cohort that also included future luminaries of Australia...
Wings of Desire Danshi Antinoph March 2026 CTEQ Annotations on Film German auteur Wim Wenders’ dream-of-Berlin film, Der Himmel über Berlin (Wings of Desire, 1987), poses a question of existence: “Why am I me, and why ...
The Goalkeeper’s Fear of the Penalty Alice Yao March 2026 CTEQ Annotations on Film Wim Wenders’ second feature film opens onto an aerial shot of a football match, largely obscured behind a massive ballooning title card appearing in b...
Everywhere is Nowhere: Wrong Move Rolland Man March 2026 CTEQ Annotations on Film “Would you tell me, please, which way I ought to go from here?” “That depends a good deal on where you want to get to,” said the Cat. “I don’t much ...
Chambre 666: Cinema’s Existential Crisis at Cannes ’82 Wheeler Winston Dixon March 2026 CTEQ Annotations on Film Prognostication is a tricky business, especially when one works in a technological format that is constantly changing. Chambre 666 (Wim Wenders, 1982)...
The Construction of Images: Wim Wenders’ Kings of the Road David Heslin March 2026 CTEQ Annotations on Film “For the first time, I see myself as someone who’s gone through a certain time, and that time is my story.” – Bruno Winter (Rüdiger Vogler), Kings o...
Pierre ou, les ambiguïtés Indigo Bailey March 2026 CTEQ Annotations on Film So the rule for cultural Europe is to organise the death of the art of living, which still flourishes When it’s time to close the book, I will have n...
It’s Not Me: Portrait Without a Mirror Corey P. Cribb March 2026 CTEQ Annotations on Film C’est pas moi (It’s Not Me, 2024), the seventh feature of the French cult director Leos Carax, is arguably the most anomalous film in what can only be...
Boy Meets Girl Martyn Bamber March 2026 CTEQ Annotations on Film I. “le look” Boy meets girl, boy loses girl, boy gets girl. A tale as old as time, except that writer/director Leos Carax shuffles these familiar sto...
Holy Motors Faith Everard March 2026 CTEQ Annotations on Film “Who were we, when we were who we were back then? Who would we have become if we’d done differently…?” – Kylie Minogue in Holy Motors Nothing ever...
Mauvais Sang Inge Fossen February 2026 CTEQ Annotations on Film Alexandre Christophe Dupont is one of the most elusive major figures in contemporary cinema. This is quite fitting, given the slippery, intoxicating e...
