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    • The Desire and the Exception

      the editors
      December 2012
      Feature Articles
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    • Respecting the Lives of Others: Bergman Island, Hommage and Anaïs in Love

      Anthony McKibbin
      August 2022

    • Protestploitation ’70: Revisiting Zabriskie Point and Strawberry Statement

      Selen Ozturk
      July 2022

    • More than a Wink: The Nature of Reality in Blow-Up and Las Babas del Diablo

      Will Hair
      July 2022

    • Suicide and Genius: Insights into One Episode of Akira Kurosawa’s Dreams

      Matthew Michaud & Justin Richardson
      July 2022

    • Interrogating Identity: The Fractal Self in Le petit soldat

      Michael James Beck
      July 2022

    • Bigger than life, or stranger: Pedro Costa’s Vitalina Varela: Part III

      Thomas Austin
      July 2022
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      the editors
      May 2022
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      Maja Korbecka
      July 2022

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      Maria Giovanna Vagenas
      July 2022

    • Human is only human when vulnerable: An Interview With Michel Franco

      Savina Petkova
      May 2022

    • “The Act of Filming is an Inner and Physical Journey in Itself”: Interview with Helke Misselwitz

      Victor Paz
      May 2022

    • Information as a music video, comedy as a diagram: Beny Wagner & Sasha Litvintseva in conversation

      Madeleine Collier
      May 2022

    • Interview with Albert Birney & Kentucker Audley

      Nolan Kelly
      May 2022
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    • Jordan, Neil

      the editors
      July 2012
      Great Directors
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    • Smith, Jack: Travails of an Underground Artist

      Sanya Osha
      May 2022

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      Darragh O’Donoghue
      May 2022

    • Curtiz, Michael

      Jeremy Carr
      January 2022

    • Lau, Kar-leung

      Tom Cunliffe
      January 2022

    • Tahimik, Kidlat 

      Charles Fairbanks
      January 2022

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      Dan Golding
      July 2021
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      the editors
      May 2022
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    • Lansbury, Angela

      Joy McEntee
      May 2022

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      Wheeler Winston Dixon
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      Jeremy Carr
      May 2022

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      Jessica Balanzategui
      January 2022
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      the editors
      December 2016
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      Bérénice Reynaud
      August 2022

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      Cerise Howard
      August 2022

    • Normality: The 2022 Cannes Film Festival

      Daniel Fairfax
      August 2022

    • 36th Cinema Ritrovato Gets Covid in the Tail

      Roger Macy
      July 2022

    • Keeping the Fires Burning: A Week at the San Francisco Silent Film Festival

      Jonathan Mackris
      July 2022

    • New Territories and Old Dreams of Independence – Chinese and Hong Kong documentaries at the Taiwan International Documentary Festival

      Judith Pernin
      July 2022
  • Book Reviews
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    • Film Noir: Hard-Boiled Modernity and the Cultures of Globalization by Jennifer Fay and Justus Neiland

      the editors
      March 2011
      Book Reviews
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    • Trafic at 30, End of a Film Journal

      Emmanuel Bonin
      July 2022

    • How to Do Things with Camera Movement: The Lure of the Image: Epistemic Fantasies of the Moving Camera, by Daniel Morgan

      Kyle Barrowman
      May 2022

    • The Depths of Empiricism: Werner Herzog: Ecstatic Truth and Other Useless Conquests, by Kristoffer Hegnsvad

      Tony McKibbin
      January 2022

    • Hollywood, Reinvented: Shooting Midnight Cowboy: Art, Sex, Loneliness, Liberation, and the Making of a Dark Classic, by Glenn Frankel

      Elroy Rosenberg
      January 2022

    • Rhythm and Light: Poetic Cinema and the Spirit of the Gift in the Films of Pabst, Parajanov, Kubrick, and Ruiz, by Laleen Jayamanne

      Steven Shaviro
      July 2021

    • West Side Story Redux: West Side Story: The Jets, the Sharks, and the Making of a Classic, by Richard Barrios

      Adrian Schober
      July 2021
  • CTEQ
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    • “An Artist Always Paints His Own Portrait”: Jean Cocteau’s Testament of Orpheus (1960)

      the editors
      July 2020
      CTEQ Annotations on Film
    Recent

    • Gazing at the Gaze: Celine Sciamma’s Portrait of a Lady on Fire (2019)

      Anders Furze
      September 2022

    • Ma Vie de Courgette (My Life as a Courgette, Claude Barras, 2016)

      Cristina Johnston
      September 2022

    • Les Olympiades (Paris, 13th District, Jacques Audiard, 2021)

      Darragh O’Donoghue
      September 2022

    • Girlhood (Céline Sciamma, 2014)

      Holly Willis
      September 2022

    • Petite Maman (Céline Sciamma, 2021)

      Louise Cain
      September 2022

    • Tomboy (Céline Sciamma, 2011)

      Faith Everard
      September 2022
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Established in Melbourne (Australia) in 1999, Senses of Cinema is one of the first online film journals of its kind and has set the standard for professional, high quality film-related content on the Internet.

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César Albarrán-Torres • Amanda Barbour • Tara Judah • Abel Muñoz-Hénonin • Fiona Villella

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