Four Years of the Nitrate Picture Show, Part 1: Beautiful Colour – Tinting and Toning Peter Rist December 2018 Feature Articles The rationale behind the Nitrate Picture Show is that film projection is the goal of film preservation. It is only in a theatre that film curators del...
Post-Human Post-Cinema: The Opening Titles of Westworld Philip Brophy December 2018 Feature Articles Introduction HBO’s Westworld is new, modern, innovative, polyphonic, self-reflexive and existential. Yet it is simultaneously classical, postmodern, ...
Under the Cover of Cloud: An Interview with Ted Wilson and James Vaughan Annabel Brady-Brown December 2018 Feature Articles On the heels of Alena Lodkina’s Strange Colours (2017) and Soda_Jerk’s Terror Nullius (2018) comes Ted Wilson’s Under the Cover of Cloud (2018), the l...
Gestures of Resistance: An Interview with Tan Pin Pin Joanne Leow October 2018 Feature Articles Tan was born in 1969 in Singapore and was trained in law in the United Kingdom and in documentary filmmaking in the United States. Her experimental do...
AI at the Movies and the Second Coming Robert Alpert October 2018 Feature Articles The movie screens are today filled with science fiction films ranging from adventure fantasies, such as Star Wars: The Last Jedi (Rian Johnson, 2017) ...
Breaking the Synchronicity: An Interview with Rana Eid Andreea Patru October 2018 Feature Articles The experience of war has been mediated through dramas usually exploring the classical distinction between good and evil, with clear protagonists and ...
Inventing Rituals: Cultural Politics in Zhang Yimou’s Historical Films Radha O'Meara October 2018 Feature Articles Zhang Yimou’s films Raise the Red Lantern (1991) and Judou (1990) were widely criticised for historical misrepresentation, because the rituals they re...
Red Hollywood: An Interview with Thom Andersen Simon Petri October 2018 Feature Articles Cinephile, historian, filmmaker and one of the most knowledgeable persons I’ve ever met, Thom Andersen visited the Austrian Filmmuseum during the fall...
Story of Home: The Paternal Legacy of Black Panther Laleen Jayamanne October 2018 Feature Articles We hear the voices of a father and a son talking to each other over a black screen (accompanied by soft string music), in the very opening moments of ...
When You See Me Again It Won’t Be Me: The Metamorphosis, Franz Kafka and David Lynch’s Life-long Obsession Hossein Eidizadeh October 2018 Feature Articles “As Gregor Samsa woke one morning from uneasy dreams, he found himself transformed into some kind of monstrous vermin. He lay on his hard, armor-like ...
Three Mothers Redux: Kathy Acker, Pina Bausch, Tilda Swinton and Luca Guadagnino’s Suspiria Alexandra Heller-Nicholas October 2018 Feature Articles Amongst the 260 odd pages of Kathy Acker’s 1993 experimental novel My Mother: Demonology, somewhere near the front of that iconic postmodern feminist ...
You Live Till You Die: Fatih Akin’s Hesitant Vigilante Ayten Tartici June 2018 Feature Articles Born in Hamburg to Turkish parents, the director Fatih Akin has never been shy of politics made personal. His films have long preoccupied themselves w...
The Doors of Reception: Notes Toward a Psychedelic Film Investigation David Church June 2018 Feature Articles I ask of film what most North Americans ask of psychedelic drugs. The difference being that when one creates a psychedelic film, he need not create a ...
Darkness Itself Made Plastic: The Forms and Formlessness of Jacques Rivette’s La Belle Noiseuse Sherry Johnson June 2018 Feature Articles If one hobbyhorse races a few strides ahead of others in the films of Jacques Rivette, that hobbyhorse is probably his conspicuous and ongoing obsessi...
Valeska Grisebach’s Western: an unacknowledged remake of Samuel Fuller’s Run of the Arrow Peter Verstraten June 2018 Feature Articles The oddest thing about Western (2017), the third feature film by the German director Valeska Grisebach after Mein Stern (Be My Star, 2001) and Sehnsuc...
“The absolute and ultimate manifestation of the power of the mind over technology”: Gaspar Noé talks 2001: a Space Odyssey Pip Chodorov and Jeremi Szaniawski June 2018 Feature Articles This interview was conducted in person by Pip Chodorov, with additional questions by Jeremi Szaniawski, at the Cannes Grand Hotel, 18 May 2018. It was...
The Dionysian Stage of 2018: Interview with Gabriel Abrantes and Daniel Schmidt Daniel Fairfax June 2018 Feature Articles 2018 is a World Cup year, so it is only to be expected that football-themed films will proliferate. None, however, are likely to be anywhere near as d...
“A Very YES, AND Person”: An Interview with Emma-Kate Croghan Doosie Morris June 2018 Feature Articles In 1995 faux-fur coats and matte lipstick were a big thing, Café Rumbarellas was on Brunswick Street and Australians still had a discernible accent. ...
Virtually Present, Physically Invisible: Virtual reality immersion and emersion in Alejandro González Iñárritu’s Carne y Arena Adriano D'Aloia June 2018 Feature Articles The freezing cement stings my heels while, in total solitude, I find myself looking at a pair of sneakers, abandoned beneath a shiny metal bench. The ...
“Why do you need me to tell you all the secrets?”: An Interview with Denis Côté Tomáš Hudák June 2018 Feature Articles French-Canadian auteur Denis Côté is probably best known for his Best Directing prizes at Locarno for his films Elle veut le chaos (All That She Wants...
The Embrace of the Serpent and the dark legacy of the rubber holocaust Mauricio Rivera June 2018 Feature Articles Like Francis Ford Coppola's Apocalypse Now (1979), The Embrace of the Serpent, directed by Colombian director Ciro Guerra (2015), may at first sight b...
Some thoughts on the erotic aesthetic in Luca Guadagnino’s ‘Desire Trilogy’ Joanna Di Mattia March 2018 Feature Articles Desire is a wish; a risk; a hunger. Desire starts with an arousal that then becomes a yearning. It alters our perception and changes our molecules. To...
“A Film is a Synthesis”: An Interview with Ventura Pons Jytte Holmqvist March 2018 Feature Articles Highly prolific Catalan filmmaker Ventura Pons (born 25 July 1945) sees the world through a cinematic lens. He argues that “a film is based on three e...
Sustaining a Cinema of Modest Means: An Interview with Ted Fendt, Ricky D’Ambrose and Graham Swon Brigitta Wagner March 2018 Feature Articles Despite the controversy surrounding Dieter Kosslick’s imminent departure after a long tenure as director of the Berlin International Film Festival and...
Le Fidèle as a Postmodern Love Romance: The Flemish Crime Dramas of Michaël R. Roskam Peter Verstraten March 2018 Feature Articles Because of the almost insurmountable linguistic barrier between Flemish in Flanders and French in Wallonia, the history of twentieth-century Belgian c...
“Somehow Images are the Perfect Words”: An Interview with Amat Escalante Kristy Matheson March 2018 Feature Articles “There’s a square there, there is a world that you create inside there where anything can happen. You can create all these emotions and tell a story a...
“A Democracy of Images” John Gianvito in Conversation Thomas Austin March 2018 Feature Articles Slow-paced but urgent, John Gianvito’s incendiary nine-hour diptych For Example, The Philippines is a stunning feat of political filmmaking. Emotional...
Le Goût du crime: Notes on Gangster Style in New-Wave Paris: Part II Murray Pomerance March 2018 Feature Articles In the second instalment of his two-part article, Canadian film scholar and regular Senses of Cinema contributor Murray Pomerance continues his though...
What Would Siegfried Kracauer Say About Tom Ford’s Nocturnal Animals? Jennifer Ruth March 2018 Feature Articles This article focuses primarily on Nocturnal Animals, arguing that like movies such as The Blue Angel and M, Nocturnal Animals gives creative expressi...
“I Love Vulnerability”: An Interview with Tab Hunter Andrew J. Rausch December 2017 Feature Articles A 2003 New York Times article described 1950s matinee idol Tab Hunter as having “Malibu beach boy looks”, and that description is apt. Even today, wel...
Ouroboros and the Cycle of Violence: An Interview with Basma Alsharif Justine Smith December 2017 Feature Articles Ouroboros (2017), the feature debut of visual artist Basma Alsharif, begins with an extended drone shot from the ocean through Gaza that plays in reve...
Haptically Revisiting Agnès Varda’s Jacquot de Nantes Andrew Northrop December 2017 Feature Articles Drawing on Agnès Varda’s practice of engaging characters dialectically with their environments, I intend to explore how Jacquot de Nantes (1991) and T...
“Women’s Stories Aren’t Told in Laos”: An Interview with Mattie Do Emma Westwood December 2017 Feature Articles When examining great moments in film history, Laos very rarely – if ever – rates a mention. Even though this South East Asian nation found its place v...
The Touch: Bergman’s forgotten masterpiece Gerard Corvin December 2017 Feature Articles Ingmar Bergman died ten years ago in July. At the time, it felt like the passing of a whole era of filmmaking. In its front page devoted to the “Maste...
Phantoms Came to Meet: Guy Maddin’s Seances as Surrealist History of Cinema Andrei Kartashov December 2017 Feature Articles “It is your only chance to see this film”: the opening phrase of Seances is one whose meaning is now all but forgotten. Seances, a video work by Guy M...
Le Goût du crime: Notes on Gangster Style in New-Wave Paris: Part I Murray Pomerance December 2017 Feature Articles In this, the first instalment of a two-part article, Canadian film scholar and regular Senses of Cinema contributor Murray Pomerance presents his thou...
