A Face in the Crowd: Ritual, Mythological and Political contexts in Stranger and the Fog Amir Hossein Siadat November 2023 Feature Articles Renowned as one of Iran's most esteemed cultural and artistic personas, Bahram Beyzaie's depth of knowledge in theatre is unparalleled. He is both an ...
Consensus Empire: Empowering the Spectator through Letterboxd Reviews Tyler Thier November 2023 Feature Articles There was an independent cinema in Folly Beach, South Carolina, that was showing Good Time (Josh and Benny Safdie, 2017). A film set in the marginal s...
We Can’t Save The Victims: Hauntology in Tony Scott’s Déjà Vu Aryan Tauqeer Khawaja November 2023 Feature Articles “To haunt does not mean to be present, and it is necessary to introduce haunting into the very construction of a concept” - (Specters of Marx: The...
Situating Lucile Hadžihalilović’s Good Boys Use Condoms Oliver Kenny November 2023 Feature Articles An explicit didactic short about a threesome with identical twin sisters, Good Boys Use Condoms (1998) provides a fascinating insight into Lucile Hadž...
Songs of Joy and Melancholy: On My Darling in Stirling Frankie Kanatas November 2023 Feature Articles Every cinephile has at least one formative film where the mere mention of the title functions as a time machine, transporting the individual back to t...
Film Criticism and the Grotesque: A Very American Tár & an Oz Elvis Laleen Jayamanne August 2023 Feature Articles Cate Blanchett: “There’s so much to talk about.” Todd Field: “There’s a lot to talk about.” CB: “In fact, it’s very hard to pin the movie down, whic...
The aesthetics and politics of melodrama, reconsidered: Delitto d’amore / Crime of Love Thomas Austin August 2023 Feature Articles This article has been peer reviewed Two lovers walk in silence along a riverbank. They are framed in a long shot, on a path bordered by green grasses...
Horse-People and White Voices: Neoliberalism and Race in Sorry to Bother You Thomas Austin May 2023 Feature Articles The comedy drama Sorry to Bother You (2018), written and directed by Boots Riley, follows the trials and tribulations of Cassius, aka “Cash”, Green (p...
The Exorcism of Sinister Ghosts: Saralisa Volm’s The Silent Forest Peter Verstraten May 2023 Feature Articles Papas Kino (Daddy’s Cinema) was the derogatory term applied to the post-war West German films that reproduced the conventions of movies made in the fa...
Spectatorial Labour: The Political Vision of Sergei Loznitsa’s Documentaries Santasil Mallik May 2023 Feature Articles Earlier last year, the Belarus-born Ukrainian filmmaker Sergei Loznitsa drew a spate of hostile reactions when he denounced the blanket ban on Russian...
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 Feature Articles Expectations – When and How Culture Would Reflect Conflict’s Traumatic Experience In the late 90s, a persistent question was present within the Georg...
Values of Baz Luhrmann’s Elvis: A Carnival Ride Laleen Jayamanne January 2023 Feature Articles “It was the greatest Carnival Attraction I’d ever seen… His Super Power was Music.” - Colonel Tom Parker An Australian Film Brand With just six fi...
Fellini’s Memory: Amarcord Bruce Jackson January 2023 Feature Articles “I’m a liar, but an honest one. People reproach me for not always telling the same story in the same way. But this happens because I’ve invented the w...
More than Mimicry: On Puppets and Interdependency in Annette and The Double Life of Véronique Indigo Bailey January 2023 Feature Articles At all three screenings I attended of Leos Carax’s incandescent rock opera, Annette (2021), at my local theatre, the already sparse audience trickled ...
After Structural Film: The Conceptual films of Morgan Fisher Arindam Sen January 2023 Feature Articles Two programs of Morgan Fisher’s films, presented during the recently concluded 68th edition of the Oberhausen short film festival, occasioned the chan...
This Body Keeps the Score: the films of Saidin Salkic Dirk de Bruyn January 2023 Feature Articles The man simply begins to decipher the inscription. He purses his lips, as if he is listening. You’ve seen that it’s not easy to figure out the inscrip...
“A long time ago….”: The Persistence and Longevity of ‘Star Wars’ at 45 Tara Lomax October 2022 Feature Articles This article was peer reviewed This year Star Wars (George Lucas, 1977) commemorated its 45th anniversary. This anniversary recognises the passage of...
The Larrikin Girl: Challenging archetypes in Australian cinema Mark Freeman & Eloise Ross October 2022 Feature Articles This article has been peer reviewed Australian cinema has travelled a varied trajectory since its initial development in the late 19th century. The c...
Unrealisable woman: Tania in Stanley Kubrick’s Aryan Papers Joy McEntee October 2022 Feature Articles This article was peer reviewed. Introduction Stanley Kubrick oscillated between torturing his female characters and exhibiting sympathy for them. So...
Anatomy of a Breakup or Her Life to Fix: The Worst Person in the World Salvador Carrasco October 2022 Feature Articles Among the thousands of books that have been written trying to elucidate Hitler, there is a remarkable one by Ron Rosenbaum, Explaining Hitler: The Sea...
Respecting the Lives of Others: Bergman Island, Hommage and Anaïs in Love Anthony McKibbin August 2022 Feature Articles “There aren’t many films about female creativity”, Mia Hansen-Løve says, “and even fewer that consider the art and craft of cinema from a woman’s poin...
Protestploitation ’70: Revisiting Zabriskie Point and Strawberry Statement Selen Ozturk July 2022 Feature Articles The revolution may not have been televised, but it was certainly filmed. In 1970, youth rallied in droves and studios rolled out the little red carpet...
More than a Wink: The Nature of Reality in Blow-Up and Las Babas del Diablo Will Hair July 2022 Feature Articles Michelangelo Antonioni’s Blow-Up (1966) contains obvious differences from its source material, Julio Cortázar’s short story Las Babas del Diablo (1959...
Suicide and Genius: Insights into One Episode of Akira Kurosawa’s Dreams Matthew Michaud & Justin Richardson July 2022 Feature Articles In 1990, Akira Kurosawa, one of Japan’s greatest directors, released his antepenultimate film Yume (Dreams). At the age of 80, this was to be the most...
Interrogating Identity: The Fractal Self in Le petit soldat Michael James Beck July 2022 Feature Articles Jean-Luc Godard’s Le petit soldat (The Little Soldier, 1963) would have been his second feature film release following his career-defining À bout de s...
Bigger than life, or stranger: Pedro Costa’s Vitalina Varela: Part III Thomas Austin July 2022 Feature Articles Vitalina Varela (2019) is the seventh feature film by the Portuguese director Pedro Costa. It tells the true story of a woman from Cape Verde who trav...
Bigger than life, or stranger: Pedro Costa’s Vitalina Varela: Part II Thomas Austin May 2022 Feature Articles Vitalina Varela (2019) is the seventh feature film by the Portuguese director Pedro Costa. It tells the true story of a woman from Cape Verde who trav...
Fire Machines: Titane and the Pyrotechnics of Love Emmalea Russo May 2022 Feature Articles “…it shall be revealed by fire.” - Corinthians 3:13 “If our aim is to explore the farthest potentialities of being, we may well opt for the disorder...
Cringing Violently: Reparative Watching, Phenomenology and Discomfort in Australian Cinema Caitlin Wilson May 2022 Feature Articles The seminal Australian film Wake in Fright (Ted Kotcheff, 1971) opens with a sweeping, circular pan around a desert landscape. It begins in silence, b...
Deleuzian Rumblings: Residue by Desire Machine Collective Vedant Srinivas May 2022 Feature Articles Desire Machine Collective (DMC) is a collaboration between artists Mriganka Madhukaillya and Sonal Jain, based in Assam (India). Inspired by the writi...
Acts of Faith: On Benedetta (Paul Verhoeven, 2021) Peter Verstraten May 2022 Feature Articles Several reviewers have described Benedetta (Paul Verhoeven, 2021) as a lesbian nunsploitation drama. Reports about the film, which had its world premi...
‘Is The Power of the Dog a New Zealand film? National Identity, Genre and Jane Campion’ Alfio Leotta & Missy Molloy May 2022 Feature Articles The Power of the Dog premiered at the Venice Film Festival on September 2, 2021. In a short time, however, much has already been written about writer-...
Traumatising the floating space of desire: how hotel spaces locate the painful passion of dislocated lives Nashuyuan Wang May 2022 Feature Articles The hotel space is one of the most uncanny products of the modern world. On the one hand, it accommodates leave and stay, transit and temporary spatia...
The Experimental Propagandist: Frank Capra and the Shape of Truth Richard Sowada January 2022 Feature Articles At first pass, placing Frank Capra into the position of a major figure in the experimental and avant-garde continuum may seem counter intuitive in the...
Heil Darling: a story of lips that haven’t laughed Pablo Gonçalo January 2022 Feature Articles Billy Wilder in the ‘30s In 1938, Billy Wilder was 32 years old and had been in America for five years. Born to a family of Polish Jews in the Austro...
The Night Shift: Woman as Outlaw Hero in The Man I Love Rob Nixon January 2022 Feature Articles How do you approach a Classic Hollywood character like Petey Brown? She solves everyone’s problems, slaps men around and disarms them – physically and...
