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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Resonance in the Present: Saul Dibb on Suite Française »


By Paul Risker. There is a touch of irony to British writer and director Saul Dibb’s career, whose most…

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“There is No ‘Independent’ Cinema in Iran”: A Conversation with Producer Mostafa Azizi »


By Hooman Razavi. Since February 2015, producer Mostafa Azizi has been detained in Iran’s notorious Evin Prison (when visiting…

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All About Asking Questions: Andrew Bujalski on Results »

Results 02

By Paul Risker.  A film’s journey is comprised of multiple steps. The next step or chapter for writer-director Andrew…

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Every Project is Unique: Enzo Cilenti on the Series Jonathan Strange & Mr. Norrell »


By Paul Risker.  “Every project is unique,” explained Enzo Cilenti who recently delved into the past to explore a…

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Love at the Crossroads of Ethnic Conflict: Dalibor Matanic on The High Sun »

High Sun 02

By Amir Ganjavie. The brutal war that followed the disintegration of Yugoslavia and the hatred between Serbs and Croats…

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Men Who Save the World: an Interview with Producer, Sharon Gan »


By Noah Charney. The first annual Kopedia Comedy Festival, held in the peaceful coastal town of Koper, Slovenia, a…

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Subversive Detection: Bruno Dumont on P’Tit Quinquin »

Quin 01

By Paul Risker. The European continent shares an intimate connection to the detective archetype. Nordic shows The Killing (2007-2012),…

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Tough Talk from the Heart: A Conversation with Joe Mantegna »

10 Cent Feat

By Matthew Sorrento. Veteran actor Joe Mantegna has all the wisdom that a life before the camera could provide.…

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Soul of a “Lioness”: On Argerich: Bloody Daughter (2012) »

Argerich 01

By Paul Risker. Argentine pianist Martha Argerich has always represented a swirling musical force – her performance of the…

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

1864 01

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

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  1. Sam’s Words Only: A Fuller Life
  2. Resonance in the Present: Saul Dibb on Suite Française
  3. “There is No ‘Independent’ Cinema in Iran”: A Conversation with Producer Mostafa Azizi
  4. All About Asking Questions: Andrew Bujalski on Results
  5. Sunset Edge: Children at Twilight
  6. Britain On Film – Britain’s History and the BFI Film Archive
  7. Every Project is Unique: Enzo Cilenti on the Series Jonathan Strange & Mr. Norrell
  8. In Conversation with Cinematographers by David A. Ellis
  9. Love at the Crossroads of Ethnic Conflict: Dalibor Matanic on The High Sun
  10. “We Who Live, Will Learn” – André Singer’s Night Will Fall on BFI DVD
  11. Men Who Save the World: an Interview with Producer, Sharon Gan
  12. Subversive Detection: Bruno Dumont on P’Tit Quinquin
  13. Loach on DVD – The Spirit of ’45 and Loach at the BBC
  14. Peter Bogdanovich: The Comedy Smuggler
  15. Mise-en-scène and the Rebirth of Film
  16. Fair Game: Democratic Principle in Hollywood Romances, from Tracy and Hepburn to the Present
  17. Can We Do It Ourselves?
  18. (Im)mortal Sherlock: Bill Condon’s Mr. Holmes
  19. Revisiting the ‘Hard to Swallow’ Morality Tale of Tod Browning’s Freaks
  20. Tough Talk from the Heart: A Conversation with Joe Mantegna
  21. Out of the Clouds (1955): Ealing Headed to Grandeur
  22. Bollywood: Gods, Glamour and Gossip (2012)
  23. Film Scratches: the Surrealist Ritual Dramas of Tzuan Wu
  24. American Movies vs European Films: a Review of Leaves of the Tree
  25. The Puzzle of Money: getting the economic story right
  26. A Romcom About Romcoms: The Film Critic (2013)
  27. Soul of a “Lioness”: On Argerich: Bloody Daughter (2012)
  28. FilmInt on the Underground: A Cinematic World to Come
  29. Banished to Strangerland
  30. CARVER to Open Second Annual REEL EAST FILM FESTIVAL, August 21-23, 2015
  1. William Luhr: Raymond Chandler once derided the task of a Hollywood screenwriter as having to impose a superficial...
  2. Tony Williams: Like “Fair Game” this film is unlikely to appear in my geographical cultural “heart...
  3. Matthew Sorrento: Thank you, Lynda — I agree that he is 100% true in every performance and always delivers the...
  4. John: Steven Jeffries, that’s actually the only version of the ending I’ve seen. Didn’t realise...
  5. LYNDA KERR: Great interview. Ive sem Mr Montanga in sooo man things I adore him as a person and actor and...


Fuller 01

Sam’s Words Only: A Fuller Life »

By Elias Savada. Samantha Fuller watched her journalist-turned-novelist-then-screenwriter, director and occasional actor dad grow old and angry with the Hollywood studio system. Fuller fille (born in 1975 to his second…

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Sunset 2

Sunset Edge: Children at Twilight »

By Christopher Sharrett.  While watching Daniel Peddle’s very interesting Sunset Edge (2015), I couldn’t help but think of F.R. Leavis’s reaction to George Eliot’s final masterpiece Daniel Deronda (1876). He argued (very…

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Night 1

“We Who Live, Will Learn” – André Singer’s Night Will Fall on BFI DVD »

By James Knight.  During his legendary conversation with François Truffaut, Alfred Hitchcock remarked on the differences between feature and documentary filmmaking, stating that in documentary, god has already created all…

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Spirit of '45 2

Loach on DVD – The Spirit of ’45 and Loach at the BBC »

By Tony Williams.  Two years before the disastrous election in England that gave the Conservatives a majority to complete the Thatcher Revolution of the 1980s, The Spirit of ’45 appeared…

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Can We Do It Ourselves? »

By Elizabeth Mizon. Why, in our democracy-obsessed society, do we balk at the idea of economic democracy in our workplaces? Why do we – the majority of us wage-reliant labourers,…

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Holmes 01

(Im)mortal Sherlock: Bill Condon’s Mr. Holmes »

By Jude Warne.  With the recent onslaught of on-screen Sherlocks, one might wonder why a filmmaker would bring another interpretation into the mix. Why indeed. Well, with Bill Condon’s new…

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Freaks 1

Revisiting the ‘Hard to Swallow’ Morality Tale of Tod Browning’s Freaks »

By Cleaver Patterson.  In today’s age of anything goes splatterfests and in-your-face CGI, it’s perhaps hard to appreciate the full effect Tod Browning’s infamous horror classic Freaks (1932) had upon…

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Out 01

Out of the Clouds (1955): Ealing Headed to Grandeur »

By Paul Risker.  From horror to comedy by way of black humour, this list reads like a roll call of honour that reiterates the importance of the Ealing canon in British cinema: Dead…

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Bollywood Small

Bollywood: Gods, Glamour and Gossip (2012) »

A Book Review by Alison Frank.  It is difficult for a book of just over 100 pages to cover any topic in sufficient detail; a decent overview of one director’s…

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American Movies vs European Films: a Review of Leaves of the Tree »

By Noah Charney. There are some films that you watch and repeatedly think to yourself, “Wow, that’s beautiful.” The director, cinematographer and often-overlooked location scout mesh their talents to harvest…

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A Romcom About Romcoms: The Film Critic (2013) »

By Jude Warne. Ideal film criticism is that which is as objective as possible. This is to ensure that the reader of the criticism is the recipient of factual information,…

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Strangerland 01

Banished to Strangerland »

By Elias Savada. The psychological story and claustrophobic/expansive landscape seem familiar, especially for fans of the series The Killing (2011-14) and Broadchurch (2013- ), recently watched locales where anyone and everyone…

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

Lucky 01

By Paul Risker. I was fortunate enough a few years back now to be in the opening night audience when Bobcat Goldthwait…

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Seeking the Intimate in The Overnight »

Overnight 1

By Paul Risker.  Film cannot escape the inevitable measure of its worth – how close the pendulum of critical and spectatorial judgment…

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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…

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

Third Man 01

By John Duncan Talbird. What matters in that kind of role is not how many lines you have, but how few. What…

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The Wolfpack (2015): Too Close to Home »

WP 01

By Elias Savada.  Here’s a thought. Flip through the opening lines of an imagined screenplay for The Wolfpack…. It’s dusk. The Empire…

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Content and Technique in Samuel Fuller’s Forty Guns »

Forty Guns 1

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…

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

Hikers Featured

By Elias Savada. World premiering as part of the Washington Post Film Strand at this year’s AFI DOCS is The Three Hikers,…

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

Best of 01

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…

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The Human Imperfection of The Falling »

Falling 1

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

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

Framing Africa

A Book Review by Martin Stollery. Framing Africa is a succinct book, academic in orientation, accessible in writing style, lacking illustrations, but…

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Nuns on the Bus: Radical Grace (2015) »

Radical Grace 02-NEW

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

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San Andreas: The Empty Catastrophe »

Andreas 6

By Christopher Sharrett.   “Today it is easier to imagine the end of the world than the end of capitalism.” – Quote…

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Remorse in Short Supply: Peace Officer (2015) »

Peace 01

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) »

Uncertain 01

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 »

APU 02

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) »

Dark Star 04

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) »

100 Year 02

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) »

The Girl 01

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) »

Machina 1

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) »

White God 02

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 »

Super Women 1

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) »

True Story 02

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 »

Darling 01

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 »

Water 02

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 »

Autumn 1

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…. »

Hunting 01

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 »

Furious 1

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’ »


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 »


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 »


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 »

Carpenter top

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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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…

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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,…

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Humanities in the Digital Era »

Lemmy Caution & Dr. Von Braun in Alphaville

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

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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 »


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 »


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 »


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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She's Funny That Way

Peter Bogdanovich: The Comedy Smuggler »

By James Knight. This August will see the US theatrical release of She’s Funny That Way, the latest feature from Peter Bogdanovich. Since his directorial debut in 1968, Bogdanovich has…

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Man of the West

Mise-en-scène and the Rebirth of Film »

By Tom Silva. Film is a living thing and so it faces an unending series of deaths. Like the mythic hero in Joseph Campbell’s magisterial book The Hero of a…

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Fair Game

Fair Game: Democratic Principle in Hollywood Romances, from Tracy and Hepburn to the Present »

By Robert K. Lightning. Lovers that demonstrate both spiritual affinity and spiritual equality have long been popular in middle-class entertainment. Repartee has often expressed that equality: one thinks of Shakespeare’s…

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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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