“Author Archive”
Stories written by Film International

Programming Shorts for Tribeca 2017 – An Interview with Sharon Badal

By Gary M. Kramer This year’s Tribeca Film Festival, held April 19-30, features 10 shorts programs curated by the esteemed Sharon Badal (an 11th program, handled entirely by ESPN, is out of festival competition). The programs this year include a strong mix of documentary and narrative shorts from 18 countries. There were 4,385 submissions, which […]

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De Palma’s Raising Cain: Re-cut and Revisited

By Jeremy Carr. Since the release of Noah Baumbach’s 2015 documentary on Brian De Palma, the legendary filmmaker, who has for decades enjoyed a proud and vocal group of supporters, has become a grand cause célèbre for hip cinephiles eager to look back at even his most widely maligned films and find those oh-so-obvious instances […]

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A Forgotten Country’s Forgotten Cinema: Searching for Hope in Post-Soviet Moldovan Cinema

By Brandon Konecny. It has been suggested, sometimes by Moldovan film professionals themselves, that cinema does not currently exist in the Republic of Moldova, Europe’s poorest and perhaps least known country. At first blush, we might feel inclined to accept this assertion. After all, Moldova’s cinema was virtually nonexistent in the 1990s, and some have […]

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The Controversy of Gamal Abdel Nasser in Nasser’s Republic, The Making of Modern Egypt

By Neila Driss. Michal Goldman’s documentary, Nasser’s Republic, The Making of Modern Egypt (2016), was screened on November 20th during the 38th edition of the Cairo International Film Festival (CIFF).  Criticized by some viewers for historical inaccuracies, it got a stormy reception, and Goldman herself was in attendance to field questions from an animated, and […]

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Kentucky Fried Chicken in the Moonlight

By Orville Lloyd Douglas. Black people are still mentally enslaved; even in the 21st century there is a psychic need by some Black artists to seek white approval and acceptance. The universal acclaim of the independent film Moonlight is due to white film critics, most heterosexual. Black films are made for white people, not for […]

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Lars-Martin Sorenson’s Censorship of Japanese Films during the U.S. Occupation of Japan: The Cases of Yasujiro Ozu and Akira Kurosawa

A Book Review by Matthew Fullerton.  Lars-Martin Sorenson is probably best known to cinephiles for his interview on censorship during the American occupation of Japan, which accompanies Criterion’s 2007 release of Drunken Angel (1948). At the time, he had just completed his PhD, and Censorship of Japanese Films during the U.S. Occupation of Japan: The […]

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The New Southern Gothic: Loving, Jeff Nichols, and the Southern Artist in the 21st Century

By Will Tomford. As I watched Loving come to an end, I thought to myself, please don’t have an epilogue text. An artistic director like Jeff Nichols wouldn’t need to end a film with anyting but an ambiguous shot. But to my dissapointment, there it was: the what-happened-next. Maybe this was at the insistence of […]

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Cat People: Horror, Necessity, and Creative Collaboration

By Jeremy Carr.  Who gets the credit for Cat People (1942)? Is it first-time producer Val Lewton, who though generally overlooked in his day has since received considerable reappraisal for his innovative, low-budget ingenuity? Or is it director Jacques Tourneur, the French emigre who would bring a shadowy visual flair to most of his films, […]

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Liverpool Radical Film Festival 2016

By Anthony Killick. The election of Donald Trump is the latest occurrence signalling neoliberalism’s transformation into some form of neo-authoritarianism constituted by a renewed commitment to upholding corporate interests and a frightful endorsement of racism and misogyny. How should those involved in the production, distribution and exhibition of film culture respond? The answer is that […]

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Blind Chance: Free Will in 4D?

By William Repass.  In Kieślowski’s 1981[1] metaphysical/political triptych, Blind Chance, the subtlest of details cut across three alternate storylines to triangulate a Poland on the verge of Solidarity. Take, for example, which drink the protagonist Witek (Bogusław Linda) favors in each divergence following the train station scene—a hinge, as it were, between narrative panels. In […]

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