Introduction: The Analogues of Peter Strickland John Edmond July 2019 The Analogues of Peter Strickland Issue 91 One way of thinking about Peter Strickland’s works is as baubles of obsession. They are little spheres of influence, spheres of logic that marry fecund dialogue and audiovisual atmosphere with field...
Interview: The Work of Peter Strickland John Edmond July 2019 The Analogues of Peter Strickland Issue 91 This wide-ranging conversation with Peter Strickland is centred around work, as theme of his films, and his theory and practice of it as filmmaker. The interview was conducted over Skype in June 2019, and then...
The Tender Force of Valérie Massadian John Edmond March 2019 Valérie Massadian and the Aesthetics of Care Issue 90 This project began in Melbourne’s Princes Park. Margot, Maura’s daughter, was ambling about in the sunshine while we discussed Milla, and its recent debut at Locarno 2017. Margot was then only a little...
Interview with Valérie Massadian: More Feeding, Less Screaming John Edmond March 2019 Valérie Massadian and the Aesthetics of Care Issue 90 Valérie Massadian’s charismatic and raw interviews match her work. In this conversation she discusses her background, her approach to reality, and how both inform her filmmaking practice. The interview...
Split/Screen Cattet/Forzani John Edmond June 2018 Split/Screen Cattet/Forzani Issue 87 This dossier coincides with retrospectives of the work of Hélène Cattet and Bruno Forzani at the Melbourne International Film Festival and the Queensland Film Festival in July and August, 2018. This dossier...
Bitumen Music: Walter Hill’s The Driver (1978) John Edmond March 2017 Cinémathèque Annotations on Film Issue 82 A long shot is of the human body in full view, a medium from torso up, a close-up the face or equivalent part. Humanly derived, these delineations buckle when applied elsewhere. A car in side profile is in...
Concrete Passages: Cinema’s Baroque Flesh: Film, Phenomenology and the Art of Entanglement, by Saige Walton John Edmond March 2017 Book Reviews Issue 82 The merits of Saige Walton’s Cinema’s Baroque Flesh: Film, Phenomenology and the Art of Entanglement lie in the parallels between baroque thinking and phenomenology. Here the baroque is a transhistorical...
The Vanguard of Marketa Lazarová John Edmond September 2016 Cinémathèque Annotations on Film Issue 80 Vladislav Vančura cleared the path for Marketa Lazarová (Frantisek Vlácil, 1967). Modernist, playwright, filmmaker, resistance figure, and author of the original novel (1931); Vančura was murdered by the...
The Desired Objects of La Marge (1976) John Edmond May 2016 Cinémathèque Annotations on Film Issue 79 There are two elements of Walerian Borowczyk’s work more broadly that are useful in thinking about La Marge (1976). The first of these relates to Borowczyk’s interest in the particular presence of objects:...
The Contiguous World of Luchino Visconti’s The Leopard (1963) John Edmond February 2016 Cinémathèque Annotations on Film Issue 78 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,...
Miklós Jancsó’s The Confrontation (1969) John Edmond September 2015 Cinémathèque Annotations on Film Issue 76 Miklós Jancsó’s The Confrontation (Fényes szelek, 1969) opens with a four-minute shot. We see the back of Judit’s head as she (Andrea Drahota, red headed) watches a convoy of police arrive. At a...
