Welcome to issue 92 of our journal the editors October 2019 Editorial This issue marks the 20th anniversary of Senses of Cinema, and we are pleased to present to you a bumper issue with a full range of film writing, provocative ideas and interviews and reports from around the wor...
American Utopia: Socio-economic Critique and Utopia in American Honey and The Florida Project Jennifer Kirby October 2019 Feature Articles Political cinema frequently conjures the aesthetic and narrative tradition of social realism, while utopia is a concept often associated with genres t...
Intimate Terrains: Contemporary German Cinema, Migration, and the Films of Aysun Bademsoy Joy Castro October 2019 Feature Articles Five excellent new documentaries about refugees screened at the 2018 Berlinale: Ai Weiwei’s Human Flow (2017), Jakob Preuss’s When Paul Came Over the ...
Cinema Never Dies: Abbas Kiarostami’s 24 Frames and The Ontology of the Digital Image James Slaymaker October 2019 Feature Articles 24 Frames, the final feature from master Iranian filmmaker Abbas Kiarostami, grew out of an abandoned project the auteur had been developing in conjun...
Woody Allen: Television as Crisis Alex Munt October 2019 Feature Articles “Renata Adler said television was an appliance rather than an artform.” Woody Allen in Meetin’ WA, Jean-Luc Godard, 1986 It was in high-school that ...
Man Survives Film: On Peter Treherne’s Talking Head Murray Pomerance October 2019 Feature Articles 1 A man is driving a vehicle down a motorway and we are watching him, in profile, from the passenger seat as past his head cars overtake him or spe...
On Paul Schrader’s “Rethinking Transcendental Style” Bruce Hodsdon October 2019 Feature Articles Transcendental style seeks to maximize the mystery of existence; it eschews all conventional interpretations of reality: realism, naturalism, psycholo...
Canan Gerede and the Experiences of a Female Director in 1990s Turkey Pınar Fontini October 2019 Feature Articles This article explores the cinematic journey of Turkish filmmaker Canan Gerede in order to try to understand the experience of being a female director ...
Dreamscapes and Masquerades: A Conversation with Abba Makama Wilfred Okiche October 2019 Interviews Abba Makama has taken Toronto twice. The first time the Nigerian director, writer and visual artist was a guest of the Toronto International Film F...
“You don’t get to hate it unless you love it”: Joe Talbot and Jimmie Fails on The Last Black Man in San Francisco Leonardo Goi October 2019 Interviews Joe Talbot and Jimmie Fails met when they were kids. Legend has it that it happened in a fight, and Fails watched his soon-to-be best friend clash wit...
Laying Bare the Anzac Legend: Interview with Köken Ergun Dirk de Bruyn October 2019 Interviews I am talking with Turkish filmmaker and video artist Köken Ergun at the International Film Festival Rotterdam about a documentary that all Australian ...
Of liberation, and of states of undress and redress both: The 54th Karlovy Vary International Film Festival Cerise Howard October 2019 Festival Reports Oftentimes reports of mine on the venerable Karlovy Vary International Film Festival (KVIFF) have looked a mite askance at its gender politics. But al...
This Is the Way the World Ends: The 10th Odesa Film Festival Leonardo Goi October 2019 Festival Reports Midway through my second year at the Odesa International Film Festival (OIFF), a curious feeling began to emerge from my screenings. To the extent tha...
22nd Revelation Perth Film Festival David Morgan-Brown October 2019 Festival Reports The unpredictable notion of control is beneficial for conflict in storytelling, particularly in the features and documentaries of the 22nd Revelation ...
Sharing My Journey: Women and the 2019 Toronto International Film Festival Alexandra Heller-Nicholas October 2019 Festival Reports To say that in recent years that broader amorphous beast loosely called “the film industry” has been the centre of often high-profile discourse about ...
The Rhizomatic Underground of Contemporary Animation Curatorship: The 9th Under the Radar Festival Dirk de Bruyn October 2019 Festival Reports The 9th Under the Radar animation film festival took place in the MuseumsQuartier, the Blickle Kino and the Filmhaus Kino in Vienna from 1-5 July. The...
The Old Hands Have It: The Batumi International Art-House Film Festival Carmen Gray October 2019 Festival Reports Batumi, Georgia’s third-largest city, has become known as the ”Las Vegas of the Black Sea”, due to the reliance of its economy on gambling. It’s true ...
Of Art Cinema, its Discontents and its Triumphs: The 72nd Locarno Film Festival Jaimey Fisher October 2019 Festival Reports This year’s edition of the Locarno Film Festival, the 72nd, welcomed a new artistic director, Lili Hinstin, after the departure last year of Carlo Cha...
A Decade+ in Review: The 2019 Toronto International Film Festival Darren Hughes October 2019 Festival Reports On 31 December 2018, the fundraising arm of the Toronto International Film Festival sent a year-end email solicitation, urging recipients to support c...
Il Cinema Ritrovato 2019 Peter Hourigan October 2019 Festival Reports Ritrovati e Restaurati – Recovered and Restored – is one the programming strands for Bologna’s Cinema Ritrovato. These terms, along with “rescued” and...
Fei Mu Jasper Mäkinen October 2019 Great Directors b. 10 October, 1906, Shanghai d. 31 January, 1951, Hong Kong Fei Mu was a director whose life coincided with huge upheavals in the history of Chin...
This Is Not Another Reading of a Master: The Invention of Robert Bresson: the Auteur and his Market, by Colin Burnett Dudley Andrew October 2019 Book Reviews The Invention of Robert Bresson is a book to take as seriously as its subject demands. Guided by a natural sensitivity to the films – something shared...
From April! April! to Imitation of Life: The Films of Douglas Sirk, by Tom Ryan Bruce Hodsdon October 2019 Book Reviews The book length interview by Jon Halliday with Douglas Sirk published in 1971 was the catalyst for the reappraisal of his contributions to the cinema....
“Mesdames, mesdemoiselles, messieurs: un classique!”: Eric Rohmer’s Film Theory (1948-1953) – From ‘École Scherer’ to ‘Politique des Auteurs’ by Marco Grosoli Jeremi Szaniawski October 2019 Book Reviews In 1987, when his book, which serves as one of the first efforts in English to reassess and appraise the films and legacy of Roberto Rossellini (1987)...
Intimate Interiors: The Long Day Closes (Terence Davies, 1992) Joanna Di Mattia October 2019 CTEQ Annotations on Film The Long Day Closes (1992), like each of Terence Davies’ nine films, lives and breathes within interior spaces. When Bud (Leigh McCormack), the film’s...
“Judge Tenderly of Me!”: Terence Davies’ Letter to Emily Dickinson in A Quiet Passion (2016) Danica van de Velde October 2019 CTEQ Annotations on Film Terence Davies’ Emily Dickinson biopic A Quiet Passion (2016) opens with Miss Lyon (Sara Vertongen), the headmistress of Mount Holyoke Female Seminary...
Autoluminescent: Rowland S. Howard (Lynn-Maree Milburn & Richard Lowenstein, 2011) Darragh O’Donoghue October 2019 CTEQ Annotations on Film I was the magician’s apprentice … I was his psychotic sidekick, the boy wonder to murder’s masked man. This may read like a lurid Nick Cave fairytale...
Hear That Lonesome Whippoorwill: Terence Davies’ The Neon Bible (1995) Adrian Danks October 2019 CTEQ Annotations on Film I was interested in the nature of the book, which is actually about failure. And very few things in America seem to me to be about failure, because it...
Defeating the Sexual Predator: Beggars of Life (William A. Wellman, 1928) Gwendolyn Audrey Foster October 2019 CTEQ Annotations on Film William A. Wellman was known throughout his career as a tough director who made grimy, realistic movies about tough people surviving desperate situati...
The Canary Murder Case (Malcolm St. Clair & Frank Tuttle, 1929) Brad Weismann October 2019 CTEQ Annotations on Film In his heyday – from 1926 to 1938 – Philo Vance, the sleuth hero of S.S. Van Dine’s dozen crime novels, was more popular in America than Sherlock Holm...
The House of Mirth (Terence Davies, 2000) Tamara Tracz October 2019 CTEQ Annotations on Film Lily Bart (Gillian Anderson) begins The House of Mirth (Terence Davies, 2000) a member of New York high society whose parentage, beauty and intelligen...
Something New and Pure: Time Stood Still (Ermanno Olmi, 1959) Donovan Renn October 2019 CTEQ Annotations on Film It’s unfortunate that realist cinema has earned itself – unfairly, for the most part – a reputation for being tedious. However, Ermanno Olmi, the accl...
Beneath Clouds (Ivan Sen, 2002) Ben Kooyman October 2019 CTEQ Annotations on Film In the twentieth century, many of the most notable depictions of Indigenous Australians and their culture in feature films were steered by white filmm...
The Terence Davies Trilogy (Terence Davies, 1976/1980/1983) Martyn Bamber October 2019 CTEQ Annotations on Film The autobiographical films of Terence Davies are not simply nostalgic journeys into the director’s past; they are piercing insights into the filmmaker...
The Past, Present and Future of Toomelah (Ivan Sen, 2011) Nicholas Bugeja October 2019 CTEQ Annotations on Film The bulk of Ivan Sen’s cinematic oeuvre – documentary and fiction (not that there is always great disparity between the two) – converges around a set ...
Death, Neglect and Conspiracy in Mystery Road (Ivan Sen, 2013) Nicholas Bugeja October 2019 CTEQ Annotations on Film A dead Indigenous girl, no more than 16 years of age, is discovered in a drain underneath a highway in the aptly named Massacre Creek area. The drain ...
A Girl in Every Port (Howard Hawks, 1928) Grant Bromley October 2019 CTEQ Annotations on Film “Man’s favorite sport?” The answer, presumably, in the world of Howard Hawks, is “woman”. At least, that’s what’s on the surface in Hawks’ work. One d...
The Trouble with Sound: Prix de beauté (Augusto Genina, 1930) Shari Kizirian October 2019 CTEQ Annotations on Film Variety’s correspondent in Berlin describes the unfortunate fate of Prix de beauté (Augusto Genina, 1930), a film about a beauty queen saddled with a ...
Il Posto (Ermanno Olmi, 1961) Rahul Hamid October 2019 CTEQ Annotations on Film Ermanno Olmi’s first feature, Il Posto (1961), is often misrepresented as being a continuation of the tradition of neorealism. This highly influential...
His Enchanted Gaze: The Tree of Wooden Clogs (Ermanno Olmi, 1978) Joseph Sgammato October 2019 CTEQ Annotations on Film Among important Italian directors, Ermanno Olmi occupies a curious middle ground. Critics and fans alike may sense that his works offer more substance...
The Melancholy Dance of the (Un)Masked Soul: I fidanzati (Ermanno Olmi, 1963) Rolland Man October 2019 CTEQ Annotations on Film By Ermanno Olmi’s own admission, I fidanzati (The Engagement), his third feature, is a pivotal work in his career. His first feature, Il tempo si è fe...
From Saturday to Sunday (Gustav Machatý, 1931), or: Don’t you wonder sometimes ’bout sound and vision? Cerise Howard September 2019 CTEQ Annotations on Film The work of Czech director Gustav Machatý (1901–1963) is enjoying a surprise renaissance. The 76th Venice Film Festival had as its pre-opening event a...
Pandora’s Box (G.W. Pabst, 1929) Dan Harper July 2004 CTEQ Annotations on Film Lulu's story is as near as you'll get to mine. – Louise Brooks There is no Garbo! There is no Dietrich! There is only Louise Brooks! – Henri Lang...
Diary of a Lost Girl (G.W. Pabst, 1929) Martyn Bamber July 2004 CTEQ Annotations on Film If there ever was a face that you could say – without hesitation – the camera loved, it is the divine face of Louise Brooks. After leaving H...
The Art of Memory: Terence Davies’ Distant Voices, Still Lives Adrian Danks September 2001 CTEQ Annotations on Film An earlier version of this article first appeared in Metro 116 (1998): 53–54. There is something indescribable about the very real pleasures of...
Introduction: This is what defined cinema in the 2010s Mark Freeman and César Albarrán-Torres October 2019 This is what defined cinema in the 2010s It would be preposterous to claim that this dossier encapsulates the totality of the stylistic trends, industry moves and authorial voices that dictat...
Digital Disquietude in the Screencast Film Jamie Tram October 2019 This is what defined cinema in the 2010s On its surface, the nascent trend of the screencast film could be dismissed as a mere vessel for cheap, hokey B-movie fare, typically preoccupied with...
What Happened? The Digital Shift in Cinema Wheeler Winston Dixon October 2019 This is what defined cinema in the 2010s To understand what the last ten years of cinema have been about, one has to start at the turn of the last century – the year 2000 – when Hollywood dec...
The Franchise Era: Blockbuster Hollywood in the 2010s…and Beyond Tara Lomax October 2019 This is what defined cinema in the 2010s It is July 2019 and Avengers: Endgame (Joe and Anthony Russo, 2019) – a flagship release in the Marvel Cinematic Universe (MCU) franchise – has just s...
The Marvel Method: How Marvel dominated franchising filmmaking Liam Burke October 2019 This is what defined cinema in the 2010s In 2009 Avatar (Cameron) became the highest grossing film of all-time at the global box office. In the same year the Walt Disney Company purchased Mar...
The echo of the Three Amigos Abel Muñoz Hénonin October 2019 This is what defined cinema in the 2010s The three best known Latin-American filmmakers worldwide, Alejandro González Iñárritu, Alfonso Cuarón, and Guillermo del Toro, are the surviving core ...
3/11 Cinema Kenta McGrath October 2019 This is what defined cinema in the 2010s The multifaceted disaster which struck Japan’s northeastern Tōhoku region on 11 March 2011 – a magnitude-9 earthquake, which triggered a devastating t...
Serial Rep-Cinema and Community Cinema-Going Claudia Sicondolfo October 2019 This is what defined cinema in the 2010s The September 2019 Senses of Cinema Dossier asks contributors to identify one central feature that has shaped and influenced cinema over the last deca...
Hard Women: Representations of older femininities in 2010s’ horror Samantha Broadhead October 2019 This is what defined cinema in the 2010s In Feud: Bette and Joan, (2017) Joan Crawford, played by Jessica Lange, noted that, “everything written for women seems to fall into just three catego...
Moonlight as a ‘Mass Art’ Film Peter Verstraten October 2019 This is what defined cinema in the 2010s Given his interest in paradoxes, the French philosopher Alain Badiou dubbed cinema a ‘mass art’, although not every film can be categorised in this wa...
The Old Dark House: Cinemagoing in the age of streaming Martyn Bamber October 2019 This is what defined cinema in the 2010s How has cinema changed over the last 10 years? This question is not about the art or business of cinema; it refers to the cinemagoing experience itsel...
Magical Summer Nights: Outdoor Cinema’s Communal Pleasures Jonathan Petrychyn October 2019 This is what defined cinema in the 2010s Earlier this year, I watched the Kenyan film Rafiki (Kahiu, 2018) on the opening night of the Christie Pits Film Festival, an outdoor film festival th...
Secret Superstars : Revolt by Stealth in Modi-era Bollywood Darragh O’Donoghue October 2019 This is what defined cinema in the 2010s In 2014 India elected Narendra Modi Prime Minister with a landslide. A right-wing Hindu fundamentalist and former member of the elite, fascistic Rash...
Instant Access: A Digital Golden Age for Film Fans Jeremy Carr October 2019 This is what defined cinema in the 2010s The conversation concerning developments in streaming service providers and digital, on-demand distribution has largely revolved around the accessibil...
Why Aren’t There More Women Directors in Hollywood—Even in 2019? Virginia Wright Wexman October 2019 This is what defined cinema in the 2010s The 2018 documentary This Changes Everything (Tom Donahue) describes the way in which women in Hollywood continue to be shut out of opportunities for ...
Pass/fail politics: face-to-face encounters and the attention economy Tara Judah October 2019 This is what defined cinema in the 2010s It’s been bang on ten years since I started my so-called career in film exhibition and film criticism. My hopes and desires, for film and for myself, ...
Snowpiercer and the Return of the Left Kalling Heck October 2019 This is what defined cinema in the 2010s A reemergent left was clearly amongst the most significant changes of the ‘10s, and these changes were not unaddressed by world cinema. Significantly,...
The swash of the Trans New Wave Claire Henry October 2019 This is what defined cinema in the 2010s Tristan Taormino heralded ‘The New Wave of Trans Cinema’ in a 2008 column, highlighting the emergence of ‘docu-porn’ created by, for, and about trans ...
Slow History: Cinema and Culture in the 2010s Daniel Fairfax October 2019 This is what defined cinema in the 2010s In his recent book, Clear Bright Future, the British political theorist Paul Mason admits to having recently experienced a moment of uncanny bewilderm...
Introduction: Communist Utopians: The Films of Jean-Marie Straub and Danièle Huillet Daniel Fairfax October 2019 Communist Utopians: The Films of Jean-Marie Straub and Danièle Huillet The filmmaking couple Jean-Marie Straub and Danièle Huillet were fond of describing their film Der Tod des Empedokles (The Death of Empedocles, 1986) ...
Straub-Huillet, Brecht and the Two Avant-Gardes Martin Brady October 2019 Communist Utopians: The Films of Jean-Marie Straub and Danièle Huillet I am unaware of any influence, political or artistic, that I could have exercised on the film industry. Bertolt Brecht, 1947 It’s cinema that inve...
Straub/Huillet’s Ecological Communism Daniel Fairfax October 2019 Communist Utopians: The Films of Jean-Marie Straub and Danièle Huillet In the years following Danièle Huillet’s death, Jean-Marie Straub was something of a fixture in the Parisian repertory cinema scene. As retrospective ...
Moses and Aaron: On the Aesthetics of Equal Distribution Ute Holl October 2019 Communist Utopians: The Films of Jean-Marie Straub and Danièle Huillet 1. Before the Law Exile, alterity, violence and the reasons of law are key issues dealt with in Danièle Huillet and Jean-Marie Straub’s film Moses un...
Mourning-work: Straub’s Solo Films (2007-2018) Claudia Pummer October 2019 Communist Utopians: The Films of Jean-Marie Straub and Danièle Huillet Straub’s “Archaeomodern” Turn “Dead, Danièle Huillet kills us twice, because her dying is as much Straub dying, who will likely never film again,” wr...
Stalking the Invisible: On Cinematic Winds in the films of Joris Ivens and Jean-Marie Straub/Danièlle Huillet Dalia Neis October 2019 Communist Utopians: The Films of Jean-Marie Straub and Danièle Huillet We are mad to be filming the wind. It’s like filming the impossible. We are mad to be filming the wind; filming the impossible is what’s best in life....
A War Film: Antigone by Danièle Huillet and Jean-Marie Straub Benoît Turquety October 2019 Communist Utopians: The Films of Jean-Marie Straub and Danièle Huillet What we usually call “film adaptation” is an exemplary form of reconfiguration. On the basis of an original work foreign to the medium – a novel, a pl...
The Dialectic of Cinema, Theatre and Life: Danièle Huillet and Jean-Marie Straub Thomas Voltzenlogel October 2019 Communist Utopians: The Films of Jean-Marie Straub and Danièle Huillet In Der Tod des Empedokles (The Death of Empedocles, 1986), Danièle Huillet and Jean-Marie Straub present, by means of Hölderlin’s verse, what constitu...
Goodbye to Danièle Fabrice Ziolkowski October 2019 Communist Utopians: The Films of Jean-Marie Straub and Danièle Huillet I first met Danièle Huillet and Jean-Marie Straub sometime in 1975 when they came to show some of their films at UC Santa Barbara where I was an under...
Welcome to our inaugural issue! (Issue 1, December 1999) the editors October 2019 Highlights from 20 years of Senses of Cinema Originally published in Senses of Cinema issue 1, December 1999. Senses of Cinema is an online film journal devoted to the serious and eclectic dis...
The Audio-Spectator: An Interview with Michel Chion (Issue 84, September 2017) Daniel Fairfax October 2019 Highlights from 20 years of Senses of Cinema Originally published in Senses of Cinema issue 84, September 2017. One of the world’s foremost theorists of sound in the cinema, former Cahiers du ...
Great Directors: Terence Davies (Issue 84, September 2017) Joanna Di Mattia October 2019 Highlights from 20 years of Senses of Cinema Originally published in Senses of Cinema issue 84, September 2017. “Only Through Time Time is Conquered” Early in Of Time and the City (2008), Tere...
Miyazaki’s Heroines (Issue 40, July 2006) Freda Freiberg October 2019 Highlights from 20 years of Senses of Cinema Originally published in Senses of Cinema issue 40, July 2006. Girls occupy a distinctive place in Japan’s mass media, including films and literatur...
Great Directors: Maya Deren (Issue 23, December 2002) Wendy Haslem October 2019 Highlights from 20 years of Senses of Cinema Originally published in Senses of Cinema issue 23, December 2002. Eleanora Derenkowsky b. April 29, 1917, Kiev, Ukraine d. October 13, 1961, New ...
Cinema, Race and the Zeitgeist: On Pulp Fiction Twenty Years Later (Issue 72, October 2014) Michael Green October 2019 Highlights from 20 years of Senses of Cinema Originally published in Senses of Cinema issue 72, October 2014. Prologue For many in Generation X, there is the time before Pulp Fiction (1994) and...
Invested in Expression or in Its Destruction?: The Politics of Space and Representation in Chantal Akerman’s Cinema (Issue 64, September 2012) Zain Jamshaid October 2019 Highlights from 20 years of Senses of Cinema Originally published in Senses of Cinema issue 64, September 2012. The objective of this article is to examine the hyperrealist, feminist tactics o...
Erosion by Desire: Marguerite Duras’ Self-Adaptations (Issue 88, October 2018) Danica van de Velde October 2019 Highlights from 20 years of Senses of Cinema Originally published in Senses of Cinema issue 88, October 2018. Towards the end of Marguerite Duras’ 1969 film Détruire dit-elle (Destroy, She Sai...
Of Mechanisms and Machines: Brazil’s New New Cinema (Issue 89, December 2018) Stefan Solomon October 2019 Highlights from 20 years of Senses of Cinema Originally published in Senses of Cinema issue 89, December 2018. Spanish version / Versión en Español. Icónica. To think of Brazil today is to ...
The Mechanics of Continuity in Michael Bay’s Transformers Franchise (Issue 75, June 2015) Bruce Isaacs October 2019 Highlights from 20 years of Senses of Cinema Originally published in Senses of Cinema issue 75, June 2015. In perhaps the most scathing review in the mainstream media of Michael Bay’s Transfor...
Wake in Fright: An Interview with Ted Kotcheff (Issue 51, July 2009) Raffaele Caputo October 2019 Highlights from 20 years of Senses of Cinema Originally published in Senses of Cinema issue 51, July 2009. On its release in 1971, Wake in Fright (Ted Kotcheff) was unkindly received by Au...
Love and Social Marginality in Samson and Delilah (Issue 51, July 2009) Therese Davis October 2019 Highlights from 20 years of Senses of Cinema Originally published in Senses of Cinema issue 51, July 2009. As I write this, Samson and Delilah (Warwick Thornton, 2009) has just been awarded th...
My Own Private New Queer Cinema (Issue 34, February 2004) Mark Adnum October 2019 Highlights from 20 years of Senses of Cinema Originally published in Senses of Cinema issue 34, February 2004. In this essay, I will argue that the films of “New Queer Cinema” were generally m...
What’s Inside a Girl?: Porn, Horror and the Films of Roberta Findlay (Issue 80, September 2016) Alexandra Heller-Nicholas October 2019 Highlights from 20 years of Senses of Cinema Originally published in Senses of Cinema issue 80, September 2016. “You know the money shots in porn films? Well, this was just a different substance...
Spectacles of Death: Body Horror, Affect and Visual Culture in the Mexican Narco Wars (Issue 84, September 2017) César Albarrán-Torres October 2019 Highlights from 20 years of Senses of Cinema Originally published in Senses of Cinema issue 84, September 2017. This article offers an overview of the highly mediatized nature of the current pha...
“Even God Was Overcome by Laziness”: An interview with Aleksandr Sokurov (Issue 61, December 2011) Marco Bauer October 2019 Highlights from 20 years of Senses of Cinema Originally published in Senses of Cinema issue 61, December 2011. This interview took place at the end of 2006 at the International Film festival M...
Beyond Perverse Allegiance: The Problem of Viewers’ Engagement in Pier Paolo Pasolini’s Salò or The 120 Days of Sodom (Issue 77, December 2015) Paolo Russo October 2019 Highlights from 20 years of Senses of Cinema Originally published in Senses of Cinema issue 77, December 2015. “Perhaps the most successful representation of physical cruelty in the history of c...
Great Directors: Jane Campion (Issue 22, October 2002) Fincina Hopgood October 2019 Highlights from 20 years of Senses of Cinema Originally published in Senses of Cinema issue 22, October 2002. b. 30 April, 1954, Wellington, New Zealand filmography bibliography artic...
Ageing and Memory in Agnès Varda’s Les plages d’Agnès (Issue 67, July 2013) Maryann De Julio October 2019 Highlights from 20 years of Senses of Cinema Originally published in Senses of Cinema issue 67, July 2013. S’imaginer très vieille est amusante (To imagine yourself very old is amusing) Agnès ...
Divine Dog Shit: John Waters and Disruptive Queer Humour in Film (Issue 80, September 2016) Stuart Richards October 2019 Highlights from 20 years of Senses of Cinema Originally published in Senses of Cinema issue 80, September 2016. John Waters is an icon of queer cinema, known for his use of grossness and bad t...
