Search Results for: "visconti"

But thou, dear, hide my body with thy veil, And with thy raiment cover foot and head… And now for God’s sake kiss me once and twice And let me go; for the night gathers me, And in the night shall no man gat...

Luchino Visconti’s La caduta degli dei (The Damned, 1969) is such an outrageously excessive and daring film that one wonders, in retrospect, how Visconti got away with it. Even the film’s trailer is over the t...

By promising a new approach to a director whose work has been and still is – as the author himself admits – largely discussed by film scholars, the title of Ivo Blom’s book may sound a bit pretentious. But afte...

b. 2 November, 1906, Milan, Lombardy, Italy d. 17 March, 1976, Rome, Lazio, Italy Count don Luchino Visconti di Modrone was born to a life of respectability, authority, and affluence. This noble upbringing, a...

“You feel as if your dreams were alive and you could touch them – and real life just passes you by!” - Marcello Mastroianni to Maria Schell, Le notti bianche (White Nights) Night falls on a provincial Italian...

This article engages with cinema’s cartographic potential by exploring its capacity to either reinforce or problematise mainstream geopolitical imaginaries and the chrono-politics upon which such imaginaries ar...

In the middle of The Leopard (Il Gattopardo 1963) there is a hunting trip. The ring of Sicilian cicadas. A rabbit is killed. A conversation takes place. Don Fabrizio (The Leopard himself The Prince of Salina, B...

Oppressive heat shrouds an Algerian beach. A Frenchman, Arthur Meursault (Marcello Mastroianni), pauses at the foot of the stairs of the house at which he’s a guest. He’s too exhausted to climb, overcome by the...

The production history of Luchino Visconti’s Ossessione (1943) is one so rich that it at times risks distracting us from the intricate internal mechanics of the film itself. Leading up to his directorial debut,...

A theoretical counter-argument to Delueze's idea of the 'time-image' as addressed to this seminal film on Italian history.

(Third edition, London: BFI, 2003) The received wisdom on Luchino Visconti involves citing his apparently contradictory nature as the basis for the uniqueness of his work. He, and it, embodies the seemingly ...

A detailed examination of Visconti's later period films, their majestic style and personal resonance.

The landscape is never simply a landscape for the Taviani Brothers. Whether fertile or barren, and in Sardinia or Sunset Boulevard, the landscape is more than a picturesque accretion of fields, trees, valleys, ...

ENTRIES IN PART 5: George Kapaklis Daniel Kasman Christopher Kearney Aryan Tauqeer Khawaja Simon Killen Rainer Knepperges Gary M. Kramer Jan Křipač Jay KuehnerMark Lager Eugenia Lai Reynaldo Lastre ...

This midsummer, in the centre of Italy, I encountered an enviably rich film festival with more than 30 great historic films, all unseen by me. There were three by Jean Renoir, four by Michael Powell, two by Ern...

Oh, the soft sound of rain On the ground, on the town. For the heart in its pain Oh, the sound of the rain! - Paul Verlaine, “ Il pleure dans mon coeur”[1. Paul Verlaine, “Il pleure dans mon coeur,” 1885....

The Train (John Frankenheimer, 1964) is based on the memoir of Rose Valland, Le front de l’art: Défenses des collection Françaises, 1939-1945, in which she recalls a Nazi attempt to abscond with masterpieces of...

b. 3 February 1939 in New York City, New York, USA d. 2 July 2016 in Los Angeles, California, USA Michael Cimino is a name that unfortunately says little to many people now, even if they love cinema. In fact,...

ENTRIES IN PART 2: José Cabrera Betancort Thomas Caldwell Nicolas Carrasco Michael J. Casey Kevin Cassidy Guilherme Cavalcanti Jane Cheadle Daryl Chin Graiwoot Chulphongsathorn Janina Ciezadlo Jesús ...

ENTRIES IN PART 4: Dr Lisa Harper Campbell Craig Harshaw Michael Heath Alain Hertay David Heslin Lee HillKierran Horner Christoph Huber Robert Hughes Darik Janik Tara Judah Dr Lisa Harper Campb...

Cinema Ritrovato had never gone away in 2020 and 2021 but now there was no online alternative and most festival-goers were back at the usual venues to a visibly packed week. Although there was a ‘last minute’ q...

Being a French speaker brings many advantages in this world, but few so dear to my heart as being able to read through any release of Trafic, the cinema journal founded by Serge Daney and Jean-Claude Biette in ...

After 101 Issues and 23 years of publications, Senses of Cinema takes a deep dive into Indian popular cinema, the world’s largest film industry: Bollywood. While Bombay cinema is generally ignored by critics in...

If unaware, as I was, that there’s a film festival devoted exclusively to mountain cinema, much less that it’s in its venerable 70th year, this and other pleasant surprises await in Trento, an exquisite small c...

The hotel space is one of the most uncanny products of the modern world. On the one hand, it accommodates leave and stay, transit and temporary spatial engagement, physically disarranging territorial compositio...

ENTRIES IN PART 1: Antti Alanen Victor Alicea Francisco Algarín Navarro Salvador Amores Geoff Andrew Cinema Antiviral. Martyn Bamber Jennifer Lynde Barker Arta Barzanji Amarsanaa Battulga Mike Bartl...

“The cinema is unequaled for revealing all the basic truths about a nation.” Alberto Lattuada Two years since the last physical edition of Locarno, the festival’s message of hope is displayed brightly in bold...

Giuseppe Rotunno (born March 19, 1923) passed away at the age of 97 on February 7, 2021. Rotunno was a cinematographer whose eye for the frame was especially attuned to colour, composition, and perspective. He ...

I From the comfort of my home, and the peace of my computer, I didn’t miss the long lines in the cold, or my shoes soaked in dirty snow, nor did I miss the crowded trips in the shuttles fighting week-end traff...

As we worked on issue 98 of Senses of Cinema from our lounge rooms, home offices and dinner tables across two continents, there was a sudden realisation among the editorial team: it has been a year since the CO...

Basil Dearden’s 1961 film, Victim, represents a significant moment in British film history. Released into a world where sex between adult men in the United Kingdom was a heavily policed crime, it is the first B...

It is tempting to view Daddy Nostalgie (Bertrand Tavernier, 1990), Dirk Bogarde’s last film, as an actor’s swan song or as a great director’s meditation on aging. When the film was released, it  was marketed an...

ENTRIES IN PART 1: Antti Alanen Francisco Algarín Navarro Martyn Bamber Mike Bartlett Arta Barzanji Raphaël Bassan Sean Bell Malik Berkati Lukas Brasiskis Samuel Bréan Samantha Broadhead Michael Bro...

In 2016 I was conducting research for an article about a forgotten experimental montage film that Jean-Luc Godard had created and screened at the Rotterdam Film Festival in February 1981, where he had combined ...

Spécial Cinéma Spécial Cinéma was a weekly programme on Télévision Suisse Romande (TSR, public broadcaster in French-speaking Switzerland). First broadcast on September 25, 1974 it came to an end in the spring...

The label of “auteur cinema”, whether poetic or political, is often the cloak under which African cinema is “discovered” and appreciated. We know the canon: Ousmane Sembene, Souleymane Cissé, Med Hondo, Djibril...