The Journey: Peter Watkins’s Polyphonic Plea for Humanity Jacob Hovind January 2022 Feature Articles Famed in increasingly small cinephiliac circles as one of the great firebrands of film history, Peter Watkins’s singular reputation rests on his unaba...
No Exit: Monte Hellman’s The Shooting Anand Sudha January 2022 Feature Articles From one angle, as Phillip Strick’s Sight and Sound review pointed out, The Shooting (Monte Hellman,1966) can be viewed as a classic revenge Western w...
After the Storm: National Cinema in Myanmar Krathyn White January 2022 Feature Articles Prior to the military coup in Myanmar on 1 February 2021, a new wave of fiercely independent productions emerged to challenge the political and social...
The Hired Hand: Peter Fonda’s Mystical, Poetic Western 50 Years Later Mark Lager January 2022 Feature Articles As Bruce Langhorne (who composed the music for Peter Fonda’s directorial debut The Hired Hand) said, “Nobody at Universal knew what to do with it. The...
Bigger than life, or stranger: Pedro Costa’s Vitalina Varela: Part I Thomas Austin January 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...
Hard Times are Over: Saidin Salkic’s The Last Days of Loneliness Fiona Villella January 2022 Feature Articles Over the last couple of years, the pandemic has forced us to consider the impact of loneliness and to consider just how important others are in our li...
Occupied Territory and Abolitionist Freeze Frames: Haile Gerima’s Bush Mama David Grundy July 2021 Feature Articles A matter of miles from Hollywood but a world away lies Watts, Los Angeles. As Thom Andersen observes in Los Angeles Plays Itself (2003): “The 1965 Wat...
The Black And White Epic No Budget Digital Feature Film Rob Nilsson July 2021 Feature Articles When I think about contemporary American cinema there are things to be thankful for and, as with cell phone addiction and social media mania, a good d...
A Cocktail of Lunacy and Love: Poetic Dimensions in Fabrice Du Welz’s “Ardennes” Trilogy Peter Verstraten July 2021 Feature Articles After a modest attempt to create a national film industry in bilingual Belgium had run aground in the 1950s, Belgian cinema was split into two separat...
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...
