Collectif Jeune Cinéma at 50: A Subjective Conversation Raphaël Bassan, Théo Deliyannis and Viviane Vagh July 2021 Feature Articles In the midst of the present devastating economic and social planetary pandemic, the Collectif Jeune Cinéma (CJC) is celebrating its 50th anniversary o...
Favouritism In The Field of Vision: Yorgos Lanthimos’ The Favourite Cam Scott July 2021 Feature Articles Few are so beholden to normalcy as the provocateur. Whether satirically or advantageously, the transgressor fanatically attests to the strength of a m...
Too Soon, Too Late: The Temporality of Ecological Grief in Cinema Kasia Van Schaik July 2021 Feature Articles “Do you burst into tears at the mere mention of the shrinking Amazon rainforests?” the article I’m scrolling through over breakfast wants to know. “Do...
Relative Truth: The Truth and Invented Memories Linda Ehrlich July 2021 Feature Articles Molly Haskell describes La Vérité (The Truth, Hirokazu Kore-eda, 2019) as “an anxious and lyrical family drama,” noting how it presents “the way in wh...
A Boundless Experience: Mark La Rosa’s Boundless David King July 2021 Feature Articles There is the kind of cinema which reassures people that the world is as they prefer to think it is. That there is some kind of meaning and sense to li...
Dreams of Italy’s Past: Giuseppe Rotunno’s Cinematography in Amarcord and The Leopard Mark Lager May 2021 Feature Articles Giuseppe Rotunno (born March 19, 1923) passed away at the age of 97 on February 7, 2021. Rotunno was a cinematographer whose eye for the frame was esp...
George Romero’s Zombie Movies: The Fragmentation of America Robert Alpert May 2021 Feature Articles George Romero reimagined the zombie movie when he co-wrote and directed Night of the Living Dead (1968). This was certainly not the first movie about ...
Boy with Flag and Black British experience in Akomfrah’s Handsworth Songs and McQueen’s Red, White and Blue Thomas Austin May 2021 Feature Articles Vanley Burke’s photograph Boy with Flag, Winford in Handsworth Park, 1970 appears in films by two of the most important figures in British cinema of t...
“Cinematic Comrades”: Bong Joon-ho’s Auteurism and Song Kang-ho’s Performance Nandana Bose May 2021 Feature Articles “For filmmakers, it’s simple, we just want to work with great actors and Song Kang-ho is such a great actor that it’s fearful how good he is…” Bong J...
Luis Buñuel’s El in the Face of Cultural Appropriation and the #MeToo Movement: A Filmmaker’s Reappraisal Salvador Carrasco May 2021 Feature Articles To my daughter Cassandra Before the first consumer-grade videotapes came out in the mid-1970s, it stands to reason that movies were not that readil...
Reclaiming the Warsaw Mermaids: Female Agency in ‘80s Communist Poland and The Lure Jessica Hudson May 2021 Feature Articles According to legend, a mermaid once surfaced in the Vistula river and was captured by a traveling merchant. When she sang out in distress, a group of ...
Listening Across Difference: Feminist Conversation, Sisterhood, and the ‘70s Irene Lusztig May 2021 Feature Articles “This magazine is not meant to preach to the converted – it’s for everyone,” editor Mary Peacock grandly announced to the L.A. Times in a 1971 article...
Deserted: Notes on J.P. Sniadecki and Lisa Malloy’s Speculative Borderlands Documentary A Shape of Things to Come Jay Kuehner May 2021 Feature Articles It begins with a landscape. The cinematic depictions of the Sonoran desert in El Mar La Mar (2017) and A Shape of Things to Come (2020), both co-direc...
The Ontology of Windows and Cinema in the Pandemic: e-flux and International Short Film Festival Oberhausen’s Film Series 2020 Shekhar Deshpande May 2021 Feature Articles WHOEVER leads a solitary life and yet now and then wants to attach himself somewhere….. he will not be able to manage for long without a window lookin...
Baron Lands: Environmental Upheaval and the Texas Oil Movie Adam Wyatt May 2021 Feature Articles The first gusher in Texas erupted over Spindletop, Beaumont in 1901 and took prospectors and engineers two full days to cap. By day ten, Spindletop pr...
Criminals Against Decoration: Modernism as a Heist Andy Reischling October 2020 Feature Articles The first thing you see in Jean-Pierre Melville’s 1966 film, Le Samouraï, is an apartment. It’s a bare studio, undecorated and almost wholly bereft of...
The New-Ark: trying to disavow anti-blackness Andrew Brooks October 2020 Feature Articles i: ceaseless calls for impossible devotions But my tendency, body and mind, is to make it. To get there, from anywhere, going wherever, always. By ...
Claustrophobia and Intimacy in Alex Ross Perry’s Queen of Earth and Her Smell Zoë Almeida Goodall October 2020 Feature Articles Michelle: “Small world.” Catherine: “Increasingly.” – Queen of Earth Cinema can produce, through a variety of techniques, a sense of claustrophobia...
What’s in a Cone? Barbara Loden’s Wanda Between Weakness and Resilience Luise Moerke October 2020 Feature Articles In the middle of an empty parking lot, a lonely snack stall promises roadside indulgence. Its red and white marquee speaks of sunnier days, seaside va...
Come and See The Painted Bird: A Filmmaker’s Plea Salvador Carrasco October 2020 Feature Articles Recently I saw what will most likely be my favourite film of the past year and foreseeable future, especially in light of the pandemic: The Painted Bi...
Thresholds of Work and Non-Work in Tulapop Saenjaroen’s People on Sunday Steffanie Ling October 2020 Feature Articles Last January, I was seeking a joyful film at the International Film Festival Rotterdam. When I asked around, one recommended a film about a woman who ...
Missing links: exploring traces of Kubrick’s ‘unknown’ early works Mick Broderick James Fenwick and Joy McEntee October 2020 Feature Articles Previously unseen materials donated by the Stanley Kubrick estate to the London University of the Arts Special Collections Archive sheds new light on ...
Segregation and Film Pedagogy: Aboriginal Kids Nullah and Dujuan Laleen Jayamanne October 2020 Feature Articles “…I am dispended”, says Dujuan Hoosan, the Arrente/Garrwa little Aboriginal boy at the centre of the documentary, In My Blood it Runs (2020). “… suspe...
Countering Dominant Cinema: Temporality in Meek’s Cutoff Catherine Putman October 2020 Feature Articles Living in a time and place that moves faster than ever; ultimately, we end up with less. Lutz Koepnick suggests that subsequently we experience less s...
Unearthing a Forgotten Television Work by Jean-Luc Godard Michael Witt July 2020 Feature Articles In 2016 I was conducting research for an article about a forgotten experimental montage film that Jean-Luc Godard had created and screened at the Rott...
Recollections of Coproducing Two Videos by Jean-Luc Godard for Prime-Time on Télévision Suisse Romande: Voyage à travers un film (Sauve qui peut (la vie)) (1981) and Scénario du film Passion (1982) Raymond Vouillamoz July 2020 Feature Articles Spécial Cinéma Spécial Cinéma was a weekly programme on Télévision Suisse Romande (TSR, public broadcaster in French-speaking Switzerland). First bro...
Soul-Surviving: Blinded by the Light Bill Mousoulis July 2020 Feature Articles Can a “feel-good” mainstream film ever be considered a great film? I think it can, but I don’t think Blinded by the Light (Gurinder Chadha, 2019) quit...
Hidden Images: The Disappearance and Re-appearance of the Leader Lady Wendy Haslem July 2020 Feature Articles This article has been peer-reviewed. I am in a darkened back room of The Australian Mediatheque watching one of the 128 films that were donated to ...
Eisenstein as Curator Oksana Bulgakowa July 2020 Feature Articles Over the last 25 years we have witnessed a trend: films moved from the black boxes of movie theatres into the white cubes of galleries and museums; fi...
Pictures of You: Allison Chhorn’s The Plastic House Louise Sheedy July 2020 Feature Articles Early shots of Allison Chhorn’s The Plastic House (2019) tell a grim story. It’s dark. Headlights make a cemetery almost visible through a rained-on w...
Werner Hochbaum’s Forgotten Austrian Masterwork: Visual Experimentation, Proto-noir and the Hitchcock Connection in The Eternal Mask (1935) Robert von Dassanowsky July 2020 Feature Articles Since the clerico-authoritarian regime, often referred to as ‘Austrofascism’ (1933–38), which arose through Chancellor Dollfuss and his Fatherland Fro...
“To All Beautiful Losers”: Political Pessimism and the Hong Kong Sports Movie Brian Hu July 2020 Feature Articles This article has been peer-reviewed. In the sports drama Dim ng bou (Weeds on Fire, Chan Chi-fat, 2016), high school principal Lo Kwong-Fai propose...
Being There Without Being There in the Era of COVID-19: A Filmmaker’s Perspective Salvador Carrasco July 2020 Feature Articles Under the current restrictions of lockdown and quarantine, in which we are being asked not to leave our homes, “hands-on filmmaking” has become virtua...
An Ambiguous Gesture: Judith Anderson Turns the Table Murray Pomerance July 2020 Feature Articles Windows or Doors: Doors and Windows John Szarkowski’s 1978 show (and book) Mirrors and Windows: American Photography since 1960 explored the movement...
Ennio Morricone and the Stuff of Cinema Dan Golding July 2020 Feature Articles There are those who write music for the movies, and then there are those whose music reshapes the stuff of cinema. Ennio Morricone, who died in July t...
In Memoriam: Sarah Maldoror (July 19, 1929–April 13, 2020) Masha Shpolberg July 2020 Feature Articles Some filmmakers make their mark with a searing unity of vision. Film after film, they impose their inner landscapes or, perhaps, their unique way of s...
