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      Impressionist Extraordinaire: Michael Mann's Ali

      Bérénice Reynaud
      March 2002
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      August 2023
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      Thomas Austin
      August 2023
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      Thomas Austin
      May 2023
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      Khatuna Maisashvili
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      July 2022
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      Marco Abel
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      Maria Giovanna Vagenas
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      C.S. Harper
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      Hamed Sarrafi
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      Report on the 22nd Pordenone Silent Film Festival

      Bérénice Reynaud
      December 2003
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      Fedor Tot
      August 2023
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      Arindam Sen
      August 2023
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      Maja Korbecka
      August 2023
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      Peter Virginas
      August 2023
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      August 2023
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    • Bergman, Skolimowski and European Modernism: Ingmar Bergman’s The Silence: Pictures in the Typewriter, Writers on the Screen by Maaret Koskinen Jerzy Skolimowski: The Cinema of a Nonconformist by Ewa Mazierska

      Bérénice Reynaud
      October 2010
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    • The Rebellious and the Rigorous: The Red Years of Cahiers du cinéma (1968-1973), by Daniel Fairfax

      Tony McKibbin
      August 2023
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      Emmanuel Bonin
      August 2023
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      Holly Willis
      May 2023
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      Sam Woolfe
      May 2023
    • For a Double-Edged Theory: Christian Metz’ Essais sur la signification au cinéma at 50

      Abel Muñoz Hénonin
      January 2023
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      Marc Raymond
      January 2023
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      Bérénice Reynaud
      February 2019
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      Shari Kizirian
      September 2023
    • It’s About Time We All Met a Happy End (Oldřich Lipský, 1967)

      Cerise Howard
      September 2023
    • Heave Ho! (Martin Frič, 1934)

      Faith Everard
      September 2023
    • Tomorrow I’ll Wake Up and Scald Myself with Tea (Jindřich Polák, 1977)

      Danica van de Velde
      September 2023
    • The Woman Suffers: “South Australia’s greatest film production” (Raymond Longford, 1918)

      Stephen Gaunson
      September 2023
    • The Sentimental Bloke (Raymond Longford, 1919)

      Darragh O’Donoghue
      September 2023
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Tagged American Film Market

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American Film Market

The Gleaners and Varda: The 2013 AFI FEST & American Film Market

Bérénice Reynaud
March 2014
Festival Reports
Agnès Varda in Californialand A blonde walks in the street, sporting fashionable sunglasses; the image is in black and white, yet has a very contemporary feel. Maybe it’s the elegant physical freedom with whic...

The Youth of Others: The 2012 AFI FEST & American Film Market (AFM)

Bérénice Reynaud
March 2013
Festival Reports
It is always ‘before the Revolution’ for us, sons of the bourgeoisie. – Bernardo Bertolucci, Prima della rivoluzione (1964) Invited as Guest Artistic Director by the 2012 AFI FEST presented by Audi, Bernardo ...

Alice in Wonder-Mall and Wonder-Beach: The AFI/Fest and American Film Market

Bérénice Reynaud
March 2012
Festival Reports
Your fearless film critic, Alice, was getting ready to cover the new edition of the AFI Fest which, this year again, was Presented by Audi and offering free tickets to the audiences – the former explaining the ...

A Question of Scale: The 2010 AFI FEST / American Film Market

Bérénice Reynaud
May 2011
Festival Reports
Two important figures of the cinephilic landscape left Los Angeles in 2010. One was Rose Kuo, who since 2007 had assumed the direction of the AFI Film Festival; the other was Scott Foundas, film editor of The L...

Mapping Yin and Yang in the Post-Modern Urban Sprawl: The 2008 AFI Fest/American Film Market

Bérénice Reynaud
April 2009
Festival Reports
  AFI: 30 October–9 November 2008 AFM: 5–12 November 2008 Sprawlin’ thru Do cities have the film festivals they deserve? Or rather, what happens to the classical notion of cinéphilie in a sprawling...

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