Festival Reports

The 2015 AFI Docs Festival Report »

Giovanni and the Water Ballet

By Gary M. Kramer.  The AFI Docs film festival showcased more than 50 feature and short length documentaries in Washington, DC, and Silver Spring, MD venues. Here is a rundown of two World…

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Highlights from the 20th San Francisco Silent Film Festival »

The Last Laugh

By Michael T. O’Toole. So, 20 years on and the San Francisco Silent Film Festival (SFSFF) is still proving their commercial knack for showcasing movies that cover the timeline, genre gaps and stylistic…

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Tribeca 2015 Festival Report »

A Courtship

By Michael Miller. The 14th Tribeca Film Festival unspooled April 15-26 at multiple venues in Manhattan. Notable this year is the fest’s major presence in the Financial District downtown; a very short walk…

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The 2015 San Francisco International Festival Report »

Steve Jobs: The Man in the Machine

By Mark James.  Conceived in 1957 by film exhibitor Irving “Bud” Levin as a way to expose the locals to foreign film, the San Francisco International Film Festival is the oldest in the…

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Berlinale 2015 Festival Report »

Le Dos Rouge

By Yun-hua Chen. The 65th Berlinale celebrates two generations of German cinema, featuring Werner Herzog’s Queen of the Desert and Wim Wenders’ Every Thing Will be Fine, alongside Andreas Dresden’s Als Wir Träumten…

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The 34th Istanbul Film Festival: Marked with Solidarity Against Censorship and the Void Left by Cancelled Competitions »

Bakur (North)

By N. Buket Cengiz. It was the festival fever once again heralding the coming of spring in Istanbul when the 34th Istanbul Film Festival started on the 3rd of April with great energy…

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The 65th Annual Berlinale Film Festival »

Under Electric Clouds

By Zhuo-Ning Su. The Berlin International Film Festival—or the “Berlinale”—celebrated its 65th edition earlier this year (Feb. 5- 15). Locked in bitter, continental weather with little sunshine and no palm trees, Berlin is…

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Interview

A New World: Marie Tourell Søderberg on the Series 1864 »

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By Paul Risker.  There are those projects that stand out in stark contrast to what has gone before, which…

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The “Czar of Noir” on TCM’s Summer of Darkness »

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By Matthew Sorrento. The “Czar of Noir” Eddie Muller needs no introduction. Over the past two decades, he has…

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Beauty from Chaos: Filmmakers Kenny Gage and Devon Downs on Anarchy Parlor (2015) »

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By Paul Risker. Anarchy Parlor (2015) is the directorial debut for Kenny Gage and Devon Downs, who along with…

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Onward from the Editing Suite: A Conversation with Andrew Hulme »

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By Paul Risker. The magical touch of film editing, seen and yet often unacknowledged, is similar to putting a…

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The “Stagecoach Ride” of Seeds of Time: An Interview with Director Sandy McLeod »

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By Jude Warne. Sandy McLeod is more than familiar with the art of documentary filmmaking. After all, she has…

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There is No “There” Anymore: Shin Su-Won on Madonna (2015) »

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By Amir Ganjavie. What is particularly amazing about new Korean movies is their ability to be simultaneously popular and…

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Beyond Documentary: Brillante Mendoza on Taklub (2015) »

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By Amir Ganjavie. Taklub (2015, “Trap”), the most recent movie from Filipino filmmaker Brillante Mendoza, represents the lives of…

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“Graphic” Words and Feeling: Thomas Farone on Aftermath (2013) »

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By Paul Risker. Following the success at Raindance with his 2003 directorial feature debut Nate Dogg, filmmaker Thomas Farone has…

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Survival and Stubbornness: Grimur Hákonarson on Rams (2015) »

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By Amir Ganjavie. Rams (2015), an Icelandic drama directed by Grimur Hákonarson, received the prize for the best movie…

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Les Blank Chased Happiness: A Conversation with Harrod Blank »

Les Blank and Harrod Blank. Photo: David Silberberg

By Matthew Sorrento. Naming Criterion’s new DVD/Blu-ray collection of films by Les Blank (1935-2013) Always for Pleasure was a…

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MOST RECENT

  1. A Debut Emerges: Rebels of the Neon God (1992)
  2. The Suspense of Climate Change: Showtime’s Years of Living Dangerously
  3. End of a Saga: Andrzej Wajda’s Wałęsa: Man of Hope
  4. Escalation as Class Conflict in Damián Szifron’s Wild Tales
  5. Discovering Mary Pickford
  6. The 2015 AFI Docs Festival Report
  7. A New World: Marie Tourell Søderberg on the Series 1864
  8. Big Game (2015): Hi/Low Concept
  9. Slow Coen-esque West
  10. The “Czar of Noir” on TCM’s Summer of Darkness
  11. Call Me Lucky: Bobcat, Crimmins, and American Culture
  12. Seeking the Intimate in The Overnight
  13. PIXAR Goes Inside Out on Us
  14. A Quick Take from Cannes: Zhao Tao on Mountains May Depart
  15. The Real Harry Lime: A Restoration of The Third Man (1949)
  16. Beauty from Chaos: Filmmakers Kenny Gage and Devon Downs on Anarchy Parlor (2015)
  17. The Wolfpack (2015): Too Close to Home
  18. Content and Technique in Samuel Fuller’s Forty Guns
  19. The Trials and Tribulations of The Three Hikers (2015)
  20. Onward from the Editing Suite: A Conversation with Andrew Hulme
  21. The “Stagecoach Ride” of Seeds of Time: An Interview with Director Sandy McLeod
  22. Highlights from the 20th San Francisco Silent Film Festival
  23. True Tête-à-Tête: Best of Enemies (2015)
  24. The Human Imperfection of The Falling
  25. There is No “There” Anymore: Shin Su-Won on Madonna (2015)
  26. “Thinking as Negation”: Adorno, Vertigo, and the Paradoxical Promise of Popular Cinema
  27. Beyond Documentary: Brillante Mendoza on Taklub (2015)
  28. “Graphic” Words and Feeling: Thomas Farone on Aftermath (2013)
  29. Framing Africa: Portrayals of a Continent in Contemporary Mainstream Cinema (2013)
  30. Nuns on the Bus: Radical Grace (2015)
  1. Jack: Moving, beautiful movie. Thanks for sharing it.
  2. Tony Williams: Thank you. Yes, I believe that the whole significance of Pickford has to be re-thought since her...
  3. Christopher Sharrett: Tony, a necessary piece on one of the women who helped us rethink notions of the female early...
  4. esc8pod: Loved the film. Deep emotionally and revealing of both major characters. They both grew a great deal in this...
  5. Jude: Thanks so much Matt, and Paul – and totally agree re: respect and consideration of the evolution and...

Review

Rebels 01

A Debut Emerges: Rebels of the Neon God (1992) »

By Paul Risker. As Rebels of the Neon God (1992) opens, one cannot help but be struck by the weighty feel of the images. It is perhaps something within the shot selection…

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Years 01

The Suspense of Climate Change: Showtime’s Years of Living Dangerously »

By John Duncan Talbird. The Showtime series Years of Living Dangerously is aware of how to make the unsexy topic of climate change both engaging and even suspenseful. Not surprising…

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Wild Tales 1

Escalation as Class Conflict in Damián Szifron’s Wild Tales »

By William Repass. Newton’s Third Law does not hold sway in Argentine filmmaker Damián Szifron’s Wild Tales (Relatos salvajes, 2014). On the contrary, action leads only to overreaction, effect revenging…

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Big Game

Big Game (2015): Hi/Low Concept »

By Elias Savada.  If Oskari Kontio, the cautious, newly-minted 13-year-old boy that is half of the unusual buddy team in Big Game, were Jewish, he’s having one heck of a…

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Slow 02

Slow Coen-esque West »

By Elias Savada. John Ford’s nowhere to be found. Stagecoach (1939) has left the building. There’s also no widescreen, large-ensemble-driven Silverado (1985) on the golden western horizon. Slow West is the latest…

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Lucky 01

Call Me Lucky: Bobcat, Crimmins, and American Culture »

By Paul Risker. I was fortunate enough a few years back now to be in the opening night audience when Bobcat Goldthwait opened proceedings at the 14th installment of Film4 FrightFest.…

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Overnight 1

Seeking the Intimate in The Overnight »

By Paul Risker.  Film cannot escape the inevitable measure of its worth – how close the pendulum of critical and spectatorial judgment swings towards success or failure. For some, the…

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INSIDE OUT

PIXAR Goes Inside Out on Us »

By Elias Savada. What’s PIXAR gonna dream up next? Something about singing taste buds, perhaps? How out this for a ticklish tale of palace intrigue: Spicy Salsa (Sofia Vergara), Dour…

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Third Man 01

The Real Harry Lime: A Restoration of The Third Man (1949) »

By John Duncan Talbird. What matters in that kind of role is not how many lines you have, but how few. What counts is how much the other characters talk…

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WP 01

The Wolfpack (2015): Too Close to Home »

By Elias Savada.  Here’s a thought. Flip through the opening lines of an imagined screenplay for The Wolfpack…. It’s dusk. The Empire State Building centers the landscape, but a chain…

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Forty Guns 1

Content and Technique in Samuel Fuller’s Forty Guns »

By James Knight.  In Jean-Luc Godard’s Pierrot Le Fou (1965), Jean-Paul Belmundo turns to man at a party and says, “you seem to be alone.” The man is of course…

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Hikers Featured

The Trials and Tribulations of The Three Hikers (2015) »

By Elias Savada. World premiering as part of the Washington Post Film Strand at this year’s AFI DOCS is The Three Hikers, the freshman feature from rookie director Natalie Avital,…

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Best of 01

True Tête-à-Tête: Best of Enemies (2015) »

By Elias Savada. Oscar-winning (2013’s Twenty Feet From Stardom) documentary filmmaker Morgan Neville and Robert Gordon, a Grammy Award winning writer, author, and filmmaker, collaborated back in 2007 on the film…

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Falling 1

The Human Imperfection of The Falling »

By Paul Risker. Worlds continue to merge as Carol Morley instigates an ongoing collision between narrative fiction and documentary within her young oeuvre. But with her most recent narrative fiction…

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Framing Africa

Framing Africa: Portrayals of a Continent in Contemporary Mainstream Cinema (2013) »

A Book Review by Martin Stollery. Framing Africa is a succinct book, academic in orientation, accessible in writing style, lacking illustrations, but graced with an arresting jacket design. Across an…

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Nuns on the Bus: Radical Grace (2015) »

By Elias Savada. Before Jorge Mario Bergoglio was elected the ultimately enlightened Pope Francis in March 2013, there were a lot of misguided steps taken on behalf of the Catholic…

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Andreas 6

San Andreas: The Empty Catastrophe »

By Christopher Sharrett.   “Today it is easier to imagine the end of the world than the end of capitalism.” – Quote attributed to Fredric Jameson, or Slavoj Zizek, or…

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Remorse in Short Supply: Peace Officer (2015) »

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By Elias Savada. William J. “Dub” Lawrence should not be smiling. And yet his bright teeth light up the screen in the…

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An Intriguing Population of 94: Uncertain (2015) »

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By Elias Savada. The new film from Ewan McNicol and Anna Sandilands begins like a mystery. It’s a dark night. A lone…

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Nothing Lost in Times Regained: On the Restored Apu Trilogy »

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By Paul Risker. Fifty-six years have passed since Satyajit Ray added Apur Sansar (The World of Apu, 1959) to Pather Panchali (Song…

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A Mind Went Black: Dark Star: H.R. Giger’s World (2014) »

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By Elias Savada. You may not recall who the 20th President of the United States was. Or the name of the British…

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The Un-Dead Walks: The 100-Year-Old Man Who Climbed Out the Window and Disappeared (2013) »

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By Elias Savada. “Being dead can have its advantages sometimes.” That’s just one of the translated pieces of tossed off dialogue delivered…

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“With Women Like You in the World…”: The Girl is in Trouble (2015) »

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By Jude Warne. The title of this thriller perhaps suggests all one needs to know about its plot, tone and perspective. A…

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Ex Machina: Woman Abused (to Small Concern) »

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By Christopher Sharrett. Alex Garland’s Ex Machina (some radio announcers have said “ex masheena”—one wonders if anyone knows Athenian drama, and the particular…

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Rhythms of Nature: Kornél Mundruczó’s White God (2015) »

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By Paul Risker.  White God (Fehér istenr, 2014) emerges into being amidst a dreamy haze. While there is a lightness to the…

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Super Women and the Plight of Tel Aviv Immigrants »

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By Hannah Grayson.  Yael Kipper and Ronen Zaretsky’s documentary film follows a group of cashiers as they work in a Tel Aviv…

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A Journalist and a Murderer (i.e., a Writer’s Fantasy): True Story (2015) »

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By Jude Warne. For a reviewer, for a journalist, to review and critique a film that champions and practically makes love to…

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John Schlesinger’s Darling (1965): the British Screen in Transition »

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By Paul Risker. There is a natural tension that permeates the Anglo-French relationship: two countries that have intertwined histories, have fought wars…

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Russell Crowe Helms Aussie History: The Water Diviner »

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By Elias Savada. Wow! I didn’t know (insert actor’s name here) could direct! Actually I should clarify that. Can said actor direct a…

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The Authentic Death and Contentious Afterlife of Pat Garrett and Billy the Kid: The Untold Story of Peckinpah’s Last Western Film, by Paul Seydor (2015) »

Seydor Feat

A Book Review by Tony Williams. It is very rare to encounter a critical work written by someone who combines the expertise…

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Constancy and Variation: An Autumn Afternoon as Ozu’s Final Testament »

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By Jeremy Carr.  An Autumn Afternoon was director Yasujirô Ozu’s final film. He passed away a year after its release, on his…

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Hunting Elephants: In Search of…. »

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By Elias Savada. With all the unrest in the Middle East, it seems that one of the few places where Israelis can gather…

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Fast & Furious 7: Balancing Frivolity and Depth »

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By Cleaver Patterson. Occasionally a film comes along which, though what unfolds on-screen is far from erudite, the final result manages the…

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The BBC’s Israeli Drama Hostages: A Story of ‘Best Laid Plans’ »

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By Paul Risker.  Permeating contemporary film and television is the sense of an oppression of foreign language drama within storytelling, whose intentional…

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Tall Tales: Now You Are, Now You’re Gone »

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By Noah Charney. Gangsters, guns, violence, wit. Let me begin by praising Tall Tales: Now You Are, Now You’re Gone (Suplje Price:…

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El Club: A Berlinale Review »

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By Zhuo-Ning Su.  When No (2012) took the festival circuit by storm and eventually won a Best Foreign Language Film Oscar nomination some…

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Ghost in the Light: Nina Forever (A SXSW Review) »

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By Paul Risker. From its opening breath, Nina Forever feels like a film that appeals not solely to our superficial and aesthetic gaze,…

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Victoria: A Berlinale Review »

Victoria

By Zhuo-Ning Su.  Calling German writer/director Sebastian Schipper’s Victoria the runaway sensation at this year’s Berlin Film Festival is overstating it a little…

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Il Sorpasso (1962) »

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By Jeremy Carr. Bruno Cortona (Vittorio Gassman) zips along deserted Roman streets in his Lancia Aurelia B24. In search of a telephone,…

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So It Goes in What We Do in the Shadows (2014) »

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By Matthew Sorrento. In his essay “A Spanner in the Works?: Genre, Narrative and the Hollywood Comedian,” Frank Krutnik details how classical Hollywood…

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A Future for Indigenous Media Studies: The Fourth Eye: Māori Media in Aotearoa New Zealand, Ed. Brendan Hokowhitu and Vijay Devadas (2013) »

Fourth

A Book Review by Brandon Konecny.  With a fascinating lineage spanning from the Treaty of Waitangi to the inception of the first…

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Girlhood: A Sundance Review »

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By Jacob Mertens. In an early sequence in Céline Sciamma’s Girlhood, a group of girls walk home at night after a football…

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Waiting Around for Something to Happen: Don Carpenter and The Hollywood Trilogy »

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A Book Review by John Duncan Talbird. Don Carpenter killed himself in 1995. He was a writer’s writer, never famous for the ten…

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Sundays and Cybèle: Serge Bourguignon’s Oscar Winner Now on Criterion »

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By Jude Warne.  On April 8th 1963, at the Santa Monica Civic Auditorium, it was announced that Serge Bourguignon’s film Sundays and…

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99 Homes: A Sundance Review »

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By Jacob Mertens.  Ramin Bahrani—known in the indie festival circuit for his subtle, observational features Man Push Cart (2005), Chop Shop (2007),…

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The Duke of Burgundy: Sex Film, No Nudity »

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By John Duncan Talbird. Peter Strickland’s new film, The Duke of Burgundy, is a cleverly beautiful and beautifully crafted exploration of the…

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Two Days, One Night: Woman at Work »

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By Christopher Sharrett. I have been meaning for some time to applaud the work of Jean-Pierre and Luc Dardenne. Their new film…

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Hans Helmut Prinzler’s Sirens & Sinners: A Visual History of Weimar Film 1918-1933 (2013) »

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A Book Review by Brandon Konecny. Having reviewed books on cinema, one of its main pleasures is discovering unexplored clefts in the…

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The Tedious Body Horror of Wetlands (2013) »

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By James Teitelbaum. “The vagina reeks of life and love and the infinite et cetera. O vagina! Your salty incense, your mushroom…

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Still The Enemy Within (Owen Gower, 2014, UK) »

Photograph courtesey of John Sturrock/reportdigital.co.uk

By Anthony Killick. Owen Gower’s debut feature film offers a narrative of the 1984-85 miners strike, the loss of which has triggered…

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American Sniper: War’s Glories »

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By Christopher Sharrett. For a number of years there has been considerable critical palaver about the “ambiguities” of Clint Eastwood’s ideology, with…

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Appropriate Behavior: Not a Chick Flick »

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By John Duncan Talbird. Writer-Director Desiree Akhavan’s funny and touching first film, Appropriate Behavior, is one of a type of smart, simple…

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Bridging the Divides: The Fine Lines of Crime Across 110th Street »

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By Jeremy Carr.  The holdup that begins the 1972 film Across 110th Street pits a trio of low-level amateurs against an established,…

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World Film Locations: Toronto: 2014 »

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A Book Review By Carmen Siu. One hundred and eighty years young, the city of Toronto has a lot to boast about. ‘T-Dot’…

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Foxcatcher: Wealth, Power, Repression »

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By Christopher Sharrett. I was far more impressed than I thought I might be with Bennett Miller’s Foxcatcher, a compelling film at…

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Elia Kazan’s Boomerang!: A Film of Qualified Pleasures »

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By Chris Neilan.  Between 1945 and 1957 Greek born Elia Kazantzoglou had no directorial equal in Hollywood. The films he made in…

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Brainquake: the Last Samuel Fuller Novel »

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A Book Review by John Duncan Talbird. In his 1968 study The American Cinema: Directors and Directions, Andrew Sarris wrote that Samuel Fuller…

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Whiplash and the Deathliness of Co-opted Jazz »

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By William Repass.  In Damien Chazelle’s new film Whiplash (2014), aspiring jazz drummer and conservatory freshman Andrew (Miles Teller) and his father…

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Features

The Fault in Our Films: Hollywood and the Illness Narrative »

The Theory of Everything

By Sheana Ochoa. Anyone who has watched the scene in the trailer of The Theory of Everything when Stephen Hawking’s character pulls…

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The Babadook: Ghosts in the Bedroom »

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By Christopher Sharrett. Australian filmmaker Jennifer Kent’s The Babadook is last season’s fascinating, much-discussed contribution to the horror film, a genre that…

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Revulsion and Derision: Antichrist, The Human Centipede II and the British Press »

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By Martin Smith. Despite increased transparency and liberalisation at the British Board of Film Classification (BBFC) in recent decades, Britain remains one…

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Lost in Space »

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By Rajko Radovic. “I’m gonna wait till the stars come out. And see them twinkle in your eyes. I’m gonna wait till…

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“Isn’t it Bromantic?” – The Whole Damn Sony Mess, and What It Means »

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By Wheeler Winston Dixon. Now that some time has elapsed between the Sony hack and the release of the film that apparently…

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The Best of 2014 – and the Most Overrated »

BOYHOOD: remarkable or overrated?

By Film International. Another film year has come to an end and it’s time to sum up. Here are the films that…

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Tati Time: Criterion Delivers The Complete Jacques Tati »

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By Jeremy Carr.  Aside from his general lack of recognition as one of film history’s great comedians, the most tragic part of…

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“A Giant Gutter in Outer Space”: On the Schopenhauerian Themes of HBO’s hit series True Detective »

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By Mathijs Peters. Introduction Arthur Schopenhauer’s philosophy, which Samuel Beckett defined as “an intellectual justification of unhappiness – the greatest that has…

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The Radical Film Network: for sustainable, oppositional film culture »

RFN

By Steve Presence. “Today we do not really have any ‘centralized’ hubs like Indymedia anymore. What we do have is a proliferation…

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Five Iranian Voices on Reza Mirkarimi’s Today »

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COLLECTED AND INTRODUCED BY AMIR GANJAVIE. Reza Mirkarimi’s Today (Emrooz, 2014) was selected to represent Iran at the 2015 Oscars despite being…

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“Turn It Off!” – Sound and Silence in 1960s British Gothic Cinema »

Dracula, Prince of Darkness

By Wheeler Winston Dixon. It’s Halloween once again, and as one might suspect, American cable networks are offering a cornucopia of horror…

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The Representation of Men in the Films of Abdol Reza Kahani, Houman Seyedi and Bahram Tavakoli »

Here Without Me

By Asal Bagheri. [Editor’s note: This essay is published here in conjunction with the publication of Film International 69, vol. 12, no.…

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Jafar Panahi’s The Mirror: On Political Film in Post-Revolutionary Iranian Cinema »

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By Sara Saljoughi. [Editor’s note: This essay is published here in conjunction with the publication of Film International 69, vol. 12, no.…

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The Malick Illusion: Perceptual segmentation in The Thin Red Line »

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By Luis Antunes Rocha. “The image, in terms of sound, always has the basic nature of a question. Fundamental to the cinema…

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Toward the Limit: Michael Bay’s Transformers: Age of Extinction »

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By Carol Vernallis. Michael Bay poses a problem. He is the second-highest-grossing director, after Spielberg, so it’s not surprising that critics and…

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Santo in the Museum of the Mexican Film Industry »

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By John Burns. It seems that a number of historians and critics of Mexican film would be happier if the films starring…

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A World of Constant Peril: Seriality, Narrative, and Closure »

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By Wheeler Winston Dixon. What are we watching now at the movies, or on television or Netflix for that matter?[1] Serials –…

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Nixon – Oliver Stone’s Rough Beast Slouching »

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By Tony Williams. Like most of his films, Oliver Stone’s Nixon (1995) generated considerable critical debate usually emphasizing questions of historical accuracy…

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Netflix and National Cinemas »

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By Wheeler Winston Dixon. This article caught my attention about a week ago, and though I blogged on it then, it seems…

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Vindication of an Heiress: Surprise revelation, alienation effect, and screen persona in Beyond a Reasonable Doubt »

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By Robert K. Lightning. Beyond a Reasonable Doubt (1956) was Fritz Lang’s final U.S. film.[1] In several obvious ways it can be…

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Bring Me the Head of Alfredo Garcia: Peckinpah the Dramatist »

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By Christopher Sharrett. The label “master of violence” was long ago affixed to director Sam Peckinpah. Books on Peckinpah with titles like…

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Multicultural Middle-earth: Constructing “Home” and the Post-colonial Imaginary in Peter Jackson’s The Lord of the Rings »

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By Laura Crossley. “The nation of course is not a desiring person but a fictive unity imposed on an aggregate of individuals,…

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Juan Orol, Phantom of the Mexican Cinema »

Juan Orol as Johnny Carmenta.

By Wheeler Winston Dixon. It’s a commonplace thing to discuss the individual vision of filmmakers, on both a national and international level,…

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The Trouble With Hitchcock »

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By Wheeler Winston Dixon. Mark Rutland: “What do you believe in?” Marnie Edgar: “Nothing.” (From Alfred Hitchcock’s Marnie) Alfred Hitchcock is routinely…

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Female Sexual Pleasure Unpunished in Bright Days Ahead »

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By Gwendolyn Audrey Foster. Finally, a film about an older woman who has an affair, and doesn’t get punished by the narrative.…

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Out of the Furnace: The Question of Adversarial Cinema »

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By Christopher Sharrett. I did not see Scott Cooper’s Out of the Furnace during its initial run some months ago, in part…

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Bruno Dumont and the Revival of the Human, Part 3 »

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By Christopher Sharrett. To Part 2. Hadewijch Hadewijch is the first of two films (the second is Hors Satan) directly focused on…

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Bruno Dumont and the Revival of the Human, Part 2 »

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By Christopher Sharrett. To Part 1. L’Humanité Bruno Dumont’s second film has been termed by certain commentators a “remake” of La Vie…

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Bruno Dumont and the Revival of the Human, Part 1 »

La Vie de Jésus

By Christopher Sharrett. Bruno Dumont is among our most important filmmakers, a fact that has gone mostly unnoticed outside Europe. His particular…

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Surviving the Monster Mom: Child’s Pose »

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By Gwendolyn Audrey Foster. “I hope it’s like a mirror.” (Călin Peter Netzer on Child’s Pose) “They fuck you up, your mum…

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The Narcissistic Sociopathology of Gender: Craig’s Wife and The Hitch-Hiker, Part 2 »

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By Gwendolyn Audrey Foster. To Part 1. While Dorothy Arzner’s Craig’s Wife (1936) revolves around a pathological female who is undone by…

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Hollywood Nomad: Andrew Dominik’s Aussiewood »

Killing Them Softly

By Stephen Gaunson. “I live here now and I don’t like going home.” (Andrew Dominik qtd. in Sperling 2012) “I wouldn’t mind…

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Missing in Action: The Lost Version of Vanishing Point »

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By Wheeler Winston Dixon. Much has been deservedly written on Richard C. Sarafian’s existential road movie Vanishing Point (1971), a shambling, glorious…

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The Narcissistic Sociopathology of Gender: Craig’s Wife and The Hitch-Hiker, Part 1 »

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By Gwendolyn Audrey Foster. It’s instructive to study the work of Dorothy Arzner and Ida Lupino in context with one another. Though…

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Man of Hope

End of a Saga: Andrzej Wajda’s Wałęsa: Man of Hope »

By Geoffrey Fox. The credits roll over a black-and-white newsreel of missiles and men parading before an austere Leonid Brezhnev in Moscow on the 52nd anniversary of the October Revolution.…

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Discovering Mary Pickford »

By Tony Williams. The title of this article has a double meaning. It is primarily a reworking of that lavishly illustrated and meticulously researched 1999 publication Mary Pickford Rediscovered written…

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“Thinking as Negation”: Adorno, Vertigo, and the Paradoxical Promise of Popular Cinema »

By Benjamin Bergholtz. “Each single manifestation of the culture industry inescapably reproduces human beings as what the whole has made them.” (Adorno and Horkheimer 2002 [Dialectic of Enlightenment]: 99) Few…

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The Agony of Woman in Gett: The Trial of Viviane Amsalem »

By Christopher Sharrett. Ronit and Shlomi Elkabetz’s Gett: The Trial of Viviane Amsalem is a work of such staggering importance that its significance to its own culture (Israel), certainly relevant,…

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Dial M for Murder

The Pictures of a Lady: In Praise of Grace Kelly »

By Daniel Garrett. Some old films have a special appeal. They might not be excellent or particularly beloved objects, and yet they have something that sustains our attention. When I…

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Motherhood and Mourning in Giuseppe Tornatore’s The Unknown Woman »

By Francesco Pascuzzi. Already with the film’s title, Giuseppe Tornatore’s The Unknown Woman (La Sconosciuta, 2005) sets out to toy with the audience’s perspective and its perception of the lead…

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Un Flic: Melville and the Ambiguities »

By Tony Williams. On initial release, Jean-Pierre Melville’s Un Flic (1972) disappointed many and has remained in critical limbo to the present day. Despite growing appreciation of its visual style,…

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Stand, Men of the West! The Battle for Middle-earth (and Britain) »

By Laura Crossley. “You’ve enjoyed the film, so now what are you going to do about the message? Tolkien didn’t just write The Lord of the Rings for fun, you…

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Radical Film-Making and Digital Paradox: the case of The Fourth Estate »

By Elizabeth Mizon and Lee Salter. Digital media technologies are full of paradoxes. On one hand they are said to open up new opportunities, a “democratisation” of media, but on…

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The Trials of Love, Justice, and Prejudice: Tom Hanks and Jonathan Demme’s film Philadelphia »

By Daniel Garrett. In the film Philadelphia (1993), written by Ron Nyswaner and directed by Jonathan Demme, the actor Tom Hanks is impressive for being able to incarnate several perspectives…

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Branko Djuric in No Man's Land (2001)

On the Trail of Missing Millions in Emerging Europe: What Happened to a Fortune in Slovenian A/V Rights Due to Artists and Producers? »

By Noah Charney. Branko Djuric, who goes by the nickname Djuro, is one the biggest film and television stars of the former Yugoslavia. His repertoire includes fistfuls of films, popular…

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The Site of Nature: Exteriority and Overexposure in The Thin Red Line »

By Trevor Mowchun. “Have mountains, and waves, and skies, no significance but what we consciously give them, when we employ them as emblems of our thoughts? The world is emblematic.”…

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Frenzy

In Defense of Hitchcock and Serious Criticism »

By Robert K. Lightning. “It follows that the critic should read without inappropriate bias. We cannot properly object to The Pilgrim’s Progress, for example, because we think that John Bunyan’s…

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Lemmy Caution & Dr. Von Braun in Alphaville

Humanities in the Digital Era »

By Wheeler Winston Dixon. We live in the age of the visible invisible; everything is supposedly available to us online, but in fact, only a small fraction of the knowledge…

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