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In the unusual opening credits for Alfred Hitchcock’s The Trouble with Harry (1955), the camera tracks from left to right over primitive, cartoon-like drawings depicting an autumn pastoral:  birds and trees of ...

To coincide with the 2013 Melbourne International Film Festival (MIFF), Senses of Cinema has commissioned a series of articles that cover two particularly important and vibrant strands of its vast program: a sm...

“Swimming”, he told her. “He wants to have a swim.” “Sailing? There’s a race on Saturday.” “I didn’t ask him. I should think he sails. He’s the sort of man who would.” She took a drink of beer. “We could tak...

In the early eighties, The Sunnyboys were the greatest band on the planet… - Stuart Coupe, Music Journalist (interviewed in The Sunnyboy) Kaye Harrison’s new documentary The Sunnyboy (2013) opens with the d...

After graduating from the Italian National Film School in the immediate postwar period Flavio Mogherini became one of the most esteemed and sought-after production designers and art directors of the reborn Ital...

Between 1961 and 1968, Elio Petri established himself as one of the most distinctive voices of Italian post-neo-realist cinema. His 1961 feature debut L’Assassino is an often-overlooked example of the filmic gi...

June 2013: It’s not often that you find yourself in another world, a parallel universe that’s real, has sentient beings passing through it and you quietly observing. But it’s happening to me more and more. T...

In Mark Hartley’s Not Quite Hollywood (Mark Hartley, 2008), the writer/director explores a substantial group of underappreciated Australian genre films produced in the 1970s and 1980s. The genteel historicity o...

Argento’s World of Giallo Dario Argento (b. 1940-) has been making gialli for a long time. His first three features – L’uccello dalle piume di cristallo (The Bird with the Crystal Plumage, 1970), Il gatto a no...

In the final shot of Dario Argento’s Profondo Rosso (Deep Red, 1975), the amateur detective/jazz pianist Marcus Daly (David Hemmings) stares icily at his own reflection in a pool of still-warm blood. The killer...

To coincide with the 2012 Melbourne International Film Festival (MIFF), Senses of Cinema has commissioned a series of articles that cover many different aspects of the program ranging from new Iranian cinema an...