Festival Reports

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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Tribeca 2015 Festival Report »

Wednesday 0445

By Gary M. Kramer.  This year’s Tribeca Film Festival provided a showcase for a pair of fascinating documentaries and a quartet of intriguing genre films. Here are reviews for a half-dozen films from…

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The Tribeca Shorts of 2015 »

Let's Not Panic

By Gary M. Kramer.  The Tribeca Film Festival’s shorts programs, curated by Sharon Badal offer slices of life that are often more satisfying than the features that play alongside them. The programs are…

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I for Iran: Critical notes on the political nature of the Tiff Cinematheque Iranian film series »

Children of Heaven

By Amir Ganjavie. Since March 5, Toronto International Film Festival’s screening programme, TIFF Cinematheque, has presented a series called “I for Iran: A History of Iranian Cinema by Its Creators”. According to its…

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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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Reality in Different Visions: Wei Hu on Butter Lamp (2013) »

Butter Lamp

By Paul Risker. The outset of Wei Hu’s filmmaking journey has taken the form of small steps, although the…

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Burden of Peace: An Interview with Filmmaker Joey Boink »

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By Amir Ganjavie.  Claudia Paz y Paz, a highly respected criminal law expert and judge with over eighteen years…

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Diva Directors Around the Globe: Spotlight on Kirsten Sheridan »

Sheridan 01

By Anna Weinstein. Irish writer-director Kirsten Sheridan has directed three features and five shorts since 2001. Her screenplay for In America (2002), which she…

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Sean Mewshaw and Desi Van Til’s Tumbledown: A Tribeca Interview »

Tumble 1

By Gary M. Kramer.  Tumbledown, directed and written, respectively, by the husband and wife team of Sean Mewshaw and…

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A Place in Myth: Portia Doubleday on After the Ball (2015) »

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By Paul Risker.  From Pascal Chind’s short film Extrême Pinocchio (2014) to a contemporary retelling of Cinderella in After…

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Steve Hoover and Danny Yourd on Crocodile Gennadiy: A Tribeca Interview »

Croc 2

By Gary M. Kramer. Crocodile Gennadiy is Steve Hoover’s compelling documentary—executive produced by Terrence Malick—about the charismatic Gennadiy Mokhnenko,…

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Sibs Shongwe-La Mer’s Necktie Youth: A Tribeca Interview »

Necktie 1

By Gary M. Kramer. Necktie Youth is a gorgeous black and white drama writing and directed by Sibs Shongwe-La…

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Imprisoned by the Absurd: Filmmaker Patricio Henriquez on Uyghurs »

Henriquez 02

By Amir Ganjavie. Montreal-based, Chilean-born filmmaker Patricio Henríquez has previously made two documentaries examining the issues surrounding abuse at…

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Programmer Magali Simard on the 2015 Toronto Human Rights Watch Film Festival »

Human Rights 02

By Amir Ganjavie. Between March 26 and April 2, TIFF presented the 12th series of Human Rights Watch Film Festival, which…

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  1. FILM SCRATCHES: Spectacles of Loss in Dolissa Medina’s The Crow Furnace (2015)
  2. Les Blank Chased Happiness: A Conversation with Harrod Blank
  3. The 2015 San Francisco International Festival Report
  4. The Agony of Woman in Gett: The Trial of Viviane Amsalem
  5. Nothing Lost in Times Regained: On the Restored Apu Trilogy
  6. A Mind Went Black: Dark Star: H.R. Giger’s World (2014)
  7. The Un-Dead Walks: The 100-Year-Old Man Who Climbed Out the Window and Disappeared (2013)
  8. Berlinale 2015 Festival Report
  9. “With Women Like You in the World…”: The Girl is in Trouble (2015)
  10. The Pictures of a Lady: In Praise of Grace Kelly
  11. Reality in Different Visions: Wei Hu on Butter Lamp (2013)
  12. The 34th Istanbul Film Festival: Marked with Solidarity Against Censorship and the Void Left by Cancelled Competitions
  13. Ex Machina: Woman Abused (to Small Concern)
  14. The 65th Annual Berlinale Film Festival
  15. Burden of Peace: An Interview with Filmmaker Joey Boink
  16. Diva Directors Around the Globe: Spotlight on Kirsten Sheridan
  17. Rhythms of Nature: Kornél Mundruczó’s White God (2015)
  18. Sean Mewshaw and Desi Van Til’s Tumbledown: A Tribeca Interview
  19. Tribeca 2015 Festival Report
  20. Super Women and the Plight of Tel Aviv Immigrants
  21. The Tribeca Shorts of 2015
  22. A Place in Myth: Portia Doubleday on After the Ball (2015)
  23. Motherhood and Mourning in Giuseppe Tornatore’s The Unknown Woman
  24. Un Flic: Melville and the Ambiguities
  25. Call for Submissions – The Second Annual REEL EAST FILM FESTIVAL (August 21-23, 2015)
  26. A Journalist and a Murderer (i.e., a Writer’s Fantasy): True Story (2015)
  27. John Schlesinger’s Darling (1965): the British Screen in Transition
  1. Christopher Sharrett: Paul, thanks for this fine piece. When you speak of your distaste for much Indian cinema, you...
  2. Christopher Sharrett: Thank you Tony. Indeed, with the summer blockbusters we are once again reminded how dismal our...
  3. Tony Williams: A fine detailed and perceptive article very welcome to those of us living in a cultural “heart...
  4. Paul Risker: Jude, Naturally I agree with Matt’s above comments, and your incorporation of film history with...
  5. Matthew Sorrento: An interesting feminist reading, Jude, which the film seems to be in need of…I also like the...


APU 02

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

By Paul Risker. Fifty-six years have passed since Satyajit Ray added Apur Sansar (The World of Apu, 1959) to Pather Panchali (Song of the Little Road, 1955) and Aparajito (The…

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Dark Star 04

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

By Elias Savada. You may not recall who the 20th President of the United States was. Or the name of the British Prime Minister in 1980. But mention the name…

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100 Year 02

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

By Elias Savada. “Being dead can have its advantages sometimes.” That’s just one of the translated pieces of tossed off dialogue delivered in this Scandinavian smorgasbord of a comedy. No,…

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The Girl 01

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

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

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Ex Machina: Woman Abused (to Small Concern) »

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 reasons behind theater’s use of the god from…

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White God 02

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

By Paul Risker.  White God (Fehér istenr, 2014) emerges into being amidst a dreamy haze. While there is a lightness to the image of motion, its confinement within the rectangular…

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Super Women 1

Super Women and the Plight of Tel Aviv Immigrants »

By Hannah Grayson.  Yael Kipper and Ronen Zaretsky’s documentary film follows a group of cashiers as they work in a Tel Aviv supermarket. What we view is a tender portrayal…

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True Story 02

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

By Jude Warne. For a reviewer, for a journalist, to review and critique a film that champions and practically makes love to the journalist vocation is a uniquely complicated task.…

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Darling 01

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

By Paul Risker. There is a natural tension that permeates the Anglo-French relationship: two countries that have intertwined histories, have fought wars as both allies and foe, and even within…

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Water 02

Russell Crowe Helms Aussie History: The Water Diviner »

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 film that is (a) something that his or…

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Seydor Feat

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) »

A Book Review by Tony Williams. It is very rare to encounter a critical work written by someone who combines the expertise of university professor, film historian, and film editor.…

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

By Jeremy Carr.  An Autumn Afternoon was director Yasujirô Ozu’s final film. He passed away a year after its release, on his 60th birthday, Dec. 12, 1963. Knowing that the…

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Hunting Elephants: In Search of…. »

By Elias Savada. With all the unrest in the Middle East, it seems that one of the few places where Israelis can gather these days for a good laugh would be…

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Fast & Furious 7: Balancing Frivolity and Depth »

By Cleaver Patterson. Occasionally a film comes along which, though what unfolds on-screen is far from erudite, the final result manages the difficult feat of combining heart and spectacle to…

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

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

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

By Noah Charney. Gangsters, guns, violence, wit. Let me begin by praising Tall Tales: Now You Are, Now You’re Gone (Suplje Price: Zdej te je, a zdej te ni) for…

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El Club: A Berlinale Review »


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) »

Nina 01

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 »


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) »

Il Sorpasso 1

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) »

Shadows 02

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) »


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 »


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 »

Sundays 1

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 »

Homes 1

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 »

Duke of Burgundy 02

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 »


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) »

Wetlands 03

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 »


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 »


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 »

Across 2

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 »


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 »

Boomerang 4

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 »

Brainquake 01

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 »

Whiplash 4

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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Emotional Cleansing: Rithy Panh’s The Missing Picture (2013) »

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By James Teitelbaum. Near the end of The Missing Picture, director Rithy Panh’s grim memoir of life under the Khmer Rouge regime…

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The One I Love: Another Film Lost in The Cosmos »


By Wheeler Winston Dixon. Godard called his masterwork Weekend (1967) “a film lost in the cosmos – a film found on the…

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The Lofty and the Humdrum: Frederick Wiseman’s National Gallery »

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By John Duncan Talbird. No person looks into the camera in a Frederick Wiseman documentary. Some critics use the term cinéma vérité…

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Interstellar: A Faltering Exercise in Space-Bound Theatrics »


By Forrest Cardamenis. In what may prove to be Interstellar’s most memorable scene, Matthew McConaughey’s Cooper (that’s a last name; curiously, he…

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Lucky: 2011 »

Lucky 1

By James Teitelbaum.  Durban is the third-largest city in South Africa, and is the biggest port town on the continent’s Indian Ocean…

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Nightcrawler: Blood from All of Us »

Nightcrawler 01

By Matthew Sorrento. He can “work all day, and creep all night,” stated Dr. James Grigson, nicknamed Dr. Death (for his penchant…

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10.000 Km (2014) »


By Zhuo-Ning Su.  Spanish writer/director Carlos Marques-Marcet’s 10.000 Km is the kind of movie that’s powered by so much honesty and insight that,…

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The Good Life: A San Francisco Film Society French Cinema Now Review »

Good Life

By Janine Gericke. The Good Life is director Jean Denizot’s feature film debut, and it proves to be a solid one. The…

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Fate and History: Volker Schlöndorff’s Diplomacy »

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By Paul Risker. Cities rise, or fall, at the will of men. In a conflict of wills in 1944, Paris, the “City…

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Five Dimensions of Sentimental Boredom: Interstellar »


By Daniel Lindvall. At some point early on in Roland Emmerich’s apocalyptic disaster film 2012 (2009) we know that 999.85 per mille…

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Force Majeure (2014) »

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By Zhuo-Ning Su.  Swedish comedic drama Force Majeure is a sneaky, unsparing, surgically accurate stab to a very particular part of the human sensibility,…

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Whiplash (2014) »

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By Sam Littman. Is Whiplash the most controversial film of the year? In January, the film was anointed the American indie to…

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Eraserhead: David Lynch’s ‘Subconscious Experience’ Released on Criterion »

Eraser 1

By Jeremy Carr.  David Lynch, via the Criterion Collection’s newly released Blu-ray of Eraserhead (1977), includes a television calibration option as a…

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Ida: The Woman’s Path? »


By Christopher Sharrett. The films of Pawel Pawlikowski have only intermittently interested me. I found his Woman in the Fifth (2011) utterly…

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Benny Loves Killing (2012) »


By Jude Warne. Benny Loves Killing is director Ben Woodiwiss’ debut feature British film, and has multiple festival awards to its name,…

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Remembering Mani Kaul: A Commemorative DVD Collection »

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By Elroy Pinto. On the first anniversary of his death, the Films Division of India released a DVD set that features all…

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Kill the Messenger: Necessary Politics »


By Christopher Sharrett. Michael Cuesta’s Kill the Messenger strikes me as a necessary film at a time when the US political cinema…

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The Tribe: Filmmaking in a Vacuum »

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By Zhuo-Ning Su. The Ukranian dramatic thriller The Tribe marks the arrival of a major directorial talent in Miroslav Slaboshpitsky, who delivers…

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Lost in Space »


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 »


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 »


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 »


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 »


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 »


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 »


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 »


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 »

Trans Feat

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 »


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 »

Lost City of the Jungle

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 »


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 »

Netflix headquarters in Los Gatos (California, USA)

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 »


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 »


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 »


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 »


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 »


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 »


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 »

Camille Claudel 1915

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 »


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 »


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 »

The Hitch-Hiker (19

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 »


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 »


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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Preliminary Notes on the Monochrome Universe »

Alice in Wonderland (1966)

By Wheeler Winston Dixon. Lately I’ve been thinking about black and white movies, and how they’ve almost completely disappeared from the current…

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“Illusion and Reality” Films: Genre and Apotheosis »

Lost Highway

By Brian Russell Graham. A great many of the most popular films of recent decades are characterized by a character’s struggle to…

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From Gangster to Master: the Forgotten Edward G. Robinson »

Teh Hatchet Man

By Matthew Sorrento. I. The Look Robinson’s legion of fans grew after the actor delivered an intense desperation as Rico Bandello in…

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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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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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The Theory of Everything

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

By Sheana Ochoa. Anyone who has watched the scene in the trailer of The Theory of Everything when Stephen Hawking’s character pulls himself up a staircase knows the film is…

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The Babadook: Ghosts in the Bedroom »

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 has fallen on hard times in the last…

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

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

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