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...
Les Amants du Pont Neuf: Paradise Lost and Found Sankeerthna Vedamtam February 2026 CTEQ Annotations on Film The “Pont Neuf” (“New Bridge”) in Paris is a standing contradiction, a literal and metaphorical bridge between the city’s Early Modern era and the adv...
Wanda Indigo Bailey February 2026 CTEQ Annotations on Film History is full of people who just didn’t. They said no thank you, turned away, ran away to the desert, stood on the streets in rags, lived in barrels...
Vanishing Point Jeremy Carr February 2026 CTEQ Annotations on Film To those who have in some way been affected by his mad dash drive from Denver, Colorado, to San Francisco, California, this man Kowalski is something ...
The Sugarland Express Darragh O’Donoghue February 2026 CTEQ Annotations on Film The first image of The Sugarland Express (1974) shuts down the mythic possibilities of the American open road even more decisively than Steven Spielbe...
Magnificent Obsession Martyn Bamber December 2025 CTEQ Annotations on Film Alfred Hitchcock, when discussing a key plot point of The Lady Vanishes (1939) with François Truffaut, mentions “the plausibles”, a reference to those...
Leave Her to Heaven Dana Polan December 2025 CTEQ Annotations on Film Martin Scorsese: And then eventually Leave Her to Heaven, in color. . . The use of the blues and the reds. Richard Schickel: Oh, that film seems to m...
Back Street Jonathan Mackris December 2025 CTEQ Annotations on Film Three factors stand in the way of any appreciation of John M. Stahl. First, there is the fact that so many of his films are relatively unavailable. A ...
Imitation of Life Amelia Leonard December 2025 CTEQ Annotations on Film Adapted from Fannie Hurst’s 1933 bestseller, Imitation of Life (John M. Stahl, 1934) arose from a cultural moment in which women’s stories were at onc...
Personal and Poetic: Australian Women’s Animation after 1990 Ruth Richards November 2025 CTEQ Annotations on Film “I love to look at the few small treasures the sea discards…” – Small Treasures (Sarah Watt, 1995) “Animation offers real potential for exploring w...
Breaking Ground: Five Animations from the 1980s Ruth Richards November 2025 CTEQ Annotations on Film I see the image of an image imposed upon my view. – Pleasure Domes (Maggie Fooke, 1987) A man holds a little theatre in the palm of his hand. A woman...
Protected: The Truth About Palm Island Adrian Danks November 2025 CTEQ Annotations on Film One of the great deficiencies of Australian cinema during the “revival” are films made by Aboriginal filmmakers or from a First Nations perspective. M...
“I Don’t Serve Scabs”: Sunday Too Far Away Stephen Gaunson November 2025 CTEQ Annotations on Film Depending on whose narrative is believed, Gil Brealey, producer and director/chairman of the South Australian Film Corporation (SAFC), either saved or...
Homosexuality: A Film For Discussion Barbara Creed November 2025 CTEQ Annotations on Film Homosexuality: A Film For Discussion (1975) was born of the early heady days of Gay Liberation several years after its first historic meeting in 1971 ...
Exits Faith Everard November 2025 CTEQ Annotations on Film “A conservative government survives essentially by dampening expectations and subduing hopes. Conservatism is basically pessimistic, reformism is basi...
Pure Shit Angelo Koulouris November 2025 CTEQ Annotations on Film A woman tightens a belt around her arm as a makeshift tourniquet, restricting blood flow and allowing her to inject a hypodermic needle into her vein,...
Who Shall Heal Murder?: Lino Brocka’s Cain and Abel Austin Lancaster November 2025 CTEQ Annotations on Film “Listen; your brother’s blood is crying out to me from the ground! And now you are cursed from the ground, which has opened its mouth to receive your ...
Bona Darragh O’Donoghue October 2025 CTEQ Annotations on Film All Manila’s a stage in the cinema of Lino Brocka. The usual distinctions between public and private, individual and collective, blur to bewildering e...
Mapping Resistance: Lino Brocka’s Manila in the Claws of Light Tito Ramos Quiling, Jnr. October 2025 CTEQ Annotations on Film Morning seeps into the alleys of Manila’s Chinatown. Vendors open their stalls as kalesas rattle and trash is swept away. The air thickens with the sc...
Negotiating truth and beauty: Lino Brocka’s Insiang Danica van de Velde October 2025 CTEQ Annotations on Film During an interview discussing first world and third world cinemas, filmmaker and scholar Hamid Naficy asked Filipino auteur Lino Brocka about the gen...
Revelation, Sumud, and the Ethics of the Gaze in Suleiman’s It Must Be Heaven Sandra E. Lim October 2025 CTEQ Annotations on Film In It Must Be Heaven (2019), Palestinian filmmaker Elia Suleiman writes, directs, and stars as a version of himself, a character identified only by hi...
Quiet Resistance: Elia Suleiman’s Divine Intervention Danica van de Velde October 2025 CTEQ Annotations on Film Following a three-minute opening sequence that is completely devoid of dialogue, the first words uttered in Palestinian filmmaker Elia Suleiman’s Yado...
Chronicle of a Disappearance Indigo Bailey October 2025 CTEQ Annotations on Film “A neutralised angel, in my case, wingless,” Elia Suleiman says of the fictionalised self who appears throughout his oeuvre, likening his double to th...
The White Dove Alexander Back September 2025 CTEQ Annotations on Film Some decades before Frantisek Vláčil released his first film Holubice (The White Dove, 1960), Pablo Picasso painted L’enfant au pigeon (Child with Dov...
Making Home: Adelheid Jamie Jungyoon Tak September 2025 CTEQ Annotations on Film Above all, František Vláčil’s Adelheid (1969) is a film about the place and (dis)placement of home. How to define home? The warmest corner of the worl...
Better Jump Down a Manhole, Light Yourself a Candle: The Devil’s Trap Cerise Howard September 2025 CTEQ Annotations on Film Long his most widely disseminated work, František Vláčil’s baroque Middle Ages masterpiece Marketa Lazarová (1967) often serves as a discombobulating ...
Two Monks Brad Weismann August 2025 CTEQ Annotations on Film For a long time, Dos monjes (Two Monks, Juan Bustillo Oro, 1934) has been categorised as one of Mexico’s first two horror movies, along with Fernando ...
From Märchenland to Mexico: Macario’s International Fairy-Tale Journey Deborah Allison August 2025 CTEQ Annotations on Film In the spring of 1959, the Oscar-winning American special-effects maestro John Fulton visited Mexico at the invitation of the Production Council of Cl...
Lust Souls: The Phantom of the Monastery Salvador Carrasco August 2025 CTEQ Annotations on Film Some films are better served if we assess them in terms of their historical context, considering whatever the director’s intent might have been in mak...
A Violent Beauty – María Candelaria, an Elegy for Things That Bleed David Melville August 2025 CTEQ Annotations on Film “There are things that bleed if you only touch them.” – Alberto Galán, María Candelaria María Candelaria (Emilio Fernández, 1943) opens with a monta...
Enamorada Niamh Thornton August 2025 CTEQ Annotations on Film In Enamorada (Emilio Fernández, 1946) María Félix is Beatriz, daughter of a wealthy landowner in Cholula, central Mexico. Pedro Armendáriz is General ...
The Sleeping Beast Within Darragh O’Donoghue July 2025 CTEQ Annotations on Film If Suzuki Seijun had retired from filmmaking in the winter of 1962, he would be remembered – if at all – as an imaginative specialist who stretched th...
Underworld Beauty Martyn Bamber July 2025 CTEQ Annotations on Film For many cineastes – especially outside of Japan – director Seijun Suzuki is the reluctant master of the yakuza genre. His international fame and noto...
