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This article has been peer reviewed. From Abby Warburg’s art project Mnemosyne Atlas to art documentaries such as Alain Resnais and Chris Marker’s Les statues meurent aussi (Statues Also Die, 1953), film mon...

In the end, one must recognize that all this filling up and patching over of holes in the Real has its limits. And yet, as regards the work of mourning, cinema and video possess a remarkable potential for creat...

First, a bit of news from the front. Those who have been following some of the local drama outlined in my last dispatch from the San Francisco Silent Film Festival know that this year’s edition is the first in ...

On Sunday, 12 May 2024, an online crowd of over 100 participants gathered to bid farewell to the two-month-long Film for Mother Festival (hereinafter referred to as Mother Festival), beating the drum for the wo...

The only thing to discover at The Nitrate Picture Show is the past. With an entire slate of programming consisting of nothing besides rare nitrate prints, the festival is, by design, prohibited from showing any...

Soul, O My Rare Soul, Your Flame’s Too Fine for Their Crude Oil Abbas Kiarostami, the renowned Persian filmmaker, once distinguished films into two types. The first is the “narrative” ones that take the viewer...

b. 22 April 1937, Neptune City, New Jersey, United States The Affective Structure of Furious Feeling: Masculinist Anger in the American New Wave and in Its Wake It goes without saying that Jack Nicholson (b. ...

"We artists are irresponsible people." – Maxim Gorky to Vladimir Ilyich Lenin, c. 1907-08 As a core member of El Pampero Cine, Alejo Moguillansky was initially known as the team’s editor who was sought-af...

1. Introduction Like how Julio Cortázar wrote about Charlie Parker, here is an attempt to write about something by means of something else. In the short story "The Pursuer" ("El perseguidor"), narrating as a j...

El Pampero Cine is acclaimed for its intricate narratives, its playful engagement with filmmaking, and its deep literary and cinematic roots, clearly distancing itself from typical film festival trends. The stu...

Anyone fortunate enough to attend the back-to-back screenings of La Flor (The Flower, Mariano Llinás, 2018) over three nights at the 62nd London Film Festival in 2018 will forever cherish the uniqueness of the ...

Ruzi keh Zan Shodam (The Day I Became a Woman, Marzieh Meshkiny, 2000) is Marzieh Meshkiny’s debut film, produced by the Makhmalbaf Film House which was founded in 1996 by renowned Iranian film director Mohsen ...

Introduction: Intuitions and Intersensoriality The multiple. Water, the sea. Perceptional bursts, inner and outer, how can they be told apart? In ‘Science and the Humanities’, Michel Serres discusses the pain...

Place names accrue meaning and thus become the loci of contradictions. The beginning of Alanis Obomsawin's The People of the Kattawapiskak River (2012) points out such a misalignment of reading in the place men...

I See a Darkness (2023) delves into the shadow archive of image-capture technologies, and, with an emphasis on the non-human and animal, raises questions about the streamlining of cinematographic technologies i...

“A true history of cinema – once stated Jean-Luc Godard – must include all the histories of the films that were never made” (p. 1). Indeed, this very history should also draw attention to the more than two hund...

There are two main sites of the New York Film Festival. On the northside of West 65th Street, in the Lincoln Square neighbourhood of Manhattan, is the 268-seat Walter Reade Theater, which sits above the street,...

Fernanda Valadez made a stunning feature directorial debut with Identifying Features (2020). For her sophomore effort, Sujo (2024), which premiered at the Sundance Film Festival this year, where it won the Worl...

In the distant future — say, the year 3000 or so — the Earth has been decimated by war, famine, disease, social collapse, pollution, and rampant lawlessness. In short, it has become uninhabitable. But space tra...

“Make everybody see/in order to fight the powers that be…”  - Public Enemy, “Fight the Power” (1989) “And where does the power come from, to see the race to its end? From within.” - Eric Liddell, Chariot...

b. April 5, 1942, Monmouthshire, Wales P is for Peter. G is for Greenaway. – Peter Greenaway was born in Newport, Wales in 1942. His father was a builder’s merchant and ornithologist. His mother was a teacher....

Nader steps into the light of the crackling fire. Sitting around it, sporting the traditional red and white ghutra, the elders of an unnamed village in the Saudi desert watch the young teacher with wary eyes. A...

Those visiting Copenhagen for the first time to attend CPH:DOX, the country’s leading international documentary film festival, which ran from the 13th to the 24th of March this year, may be looking for its head...

To begin, then, with Hamlet: to be or not to be, this seems to be the question these days for the city of Berlin when it comes to its longstanding status as – and claim to being – Germany’s cinema capital. Do t...

In the years – decades even, or so it sometimes feels – that I have been dashing off these festival reports, I have never put pen to paper in a state of such explosive rage as I do now, when trying to formulate...

Pariah (Riddhi Majumder, 2020) As occasionally happens with me, a few years back I was sent a film to look at by someone I did not know. It was from India, passed along because someone there who had taken a wo...

Real depression is boring, there’s not usually a lot of cinematic stuff going on. And Lars had a very creative way of making it not boring. – Kirsten Dunst ‘Why is it’, the author asked ‘that all men who ...

would have us be concerned not with the psychology but with the physiology of existence. – André Bazin, “Le journal d’ un curé de campagne and the Stylistics of Robert Bresson” I wanted to be raw material...

Patricio Guzmán is widely recognised as one of the most eminent Latin American filmmakers. Approaching his eighty-third birthday, he remains committed to research and cinematic production. Since the 1970s, his ...

Bill Nichols presents six conceptual lenses through which to examine the ways in which documentary film functions to invoke and convey its meaning or message, and they are the poetic, expository, observatio...

Crossfire (Edward Dmytryk, 1947), often classified as a film noir, and one of the first Hollywood films dealing with antisemitism, didn’t start out with that theme in mind. Instead, the film was based on Richar...

When Gloria Grahame won the Academy Award for Best Supporting Actress for her sub-ten-minute performance in Vincente Minnelli’s The Bad and the Beautiful (1952), presenter Edmund Gwenn made a playful quip about...

From its opening moments, Padre Padrone (1977) defies expectations. On the surface, this film by brothers Paolo and Vittorio Taviani, which is based on an autobiography by Gavino Ledda, begins with Gavino as a ...

Cherike-ye Tārā (Ballads of Tara, 1979), the fourth feature film by Bahram Beyzaie,[1. For more information about Bahram Bayzaei's career, refer to: Siadat, Amir Hossein, “A Face in the Crowd: Ritual, Mythologi...

Despite Argentina's present socio-political and economic situation being shrouded in uncertainty and instability, its film industry is robust, consistently producing remarkable works. Contemporary Argentine cin...

Introduction Recent political events, such as the “Title 42” expulsions, have led to growing prominence in United States-Mexico border discourses. The Trump Administration used the law during the COVID-19 pand...