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  • Features
    Recent
    • Some thoughts on the erotic aesthetic in Luca Guadagnino’s ‘Desire Trilogy’

      José Sarmiento-Hinojosa
      March 2018
      Issue 86
    • Ventura Pons interview

      “A Film is a Synthesis”: An Interview with Ventura Pons

      José Sarmiento-Hinojosa
      March 2018
      Issue 86
    • Sustaining a Cinema of Modest Means: An Interview with Ted Fendt, Ricky D’Ambrose and Graham Swon

      José Sarmiento-Hinojosa
      March 2018
      Issue 86
    • Roskam Feature Image

      Le Fidèle as a Postmodern Love Romance: The Flemish Crime Dramas of Michaël R. Roskam

      José Sarmiento-Hinojosa
      March 2018
      Issue 86
    more articles...
    Random
    • Berlin School

      Filming without Predetermined Results: Henner Winckler and the Berlin School

      José Sarmiento-Hinojosa
      December 2015
      Feature Articles
      Issue 77
  • Festival Reports
    Recent
    • International Film Festival Rotterdam 2018

      Rotterdam – Delete/Ignore: locating gremlins and glitches in the machine. Or, how I met the humans and parasites of Planet IFFR

      José Sarmiento-Hinojosa
      March 2018
      Issue 86
    • AFI AFM 2017

      AFM/AFI FEST 2017: Magic Women, Haptic Men

      José Sarmiento-Hinojosa
      March 2018
      Issue 86
    • Ânûû-rû Âboro: The Festival of Peoples’ Cinema

      José Sarmiento-Hinojosa
      March 2018
      Issue 86
    • A Tale of Two Festivals: International Film Festival of India and Experimenta

      José Sarmiento-Hinojosa
      March 2018
      Issue 86
    more articles...
    Random
    • Sydney film festival review

      Political all the Way: the 62nd Sydney Film Festival

      José Sarmiento-Hinojosa
      September 2015
      Festival Reports
      Issue 76
  • Book Reviews
    Recent
    • jean rollin

      Iron Roses: Lost Girls: The Phantasmagorgical Cinema of Jean Rollin, ed. Samm Deighan

      José Sarmiento-Hinojosa
      March 2018
      Issue 86
    • troubled everyday

      From the Banal to the Extreme… and Back Again: Troubled Everyday: The Aesthetics of Violence and the Everyday in European Art Cinema by Alison Taylor

      José Sarmiento-Hinojosa
      March 2018
      Issue 86
    • cinema hypothesis

      The Cinema Hypothesis: Teaching Cinema in the Classroom and Beyond, by Alain Bergala

      José Sarmiento-Hinojosa
      March 2018
      Issue 86
    • slums on screen

      Re-framing the city: Slums on Screen: World Cinema and the Planet of Slums, by Igor Krstić

      José Sarmiento-Hinojosa
      March 2018
      Issue 86
    more articles...
    Random
    • Mapping Artists’ Films: Exhibiting Cinema in Contemporary Art by Erika Balsom

      José Sarmiento-Hinojosa
      March 2015
      Book Reviews
      Issue 74
  • CTEQ
    Recent
    • Diary of a Chambermaid

      Diary of a Chambermaid

      José Sarmiento-Hinojosa
      March 2018
      Issue 86
    • Les Amants

      Les Amants

      José Sarmiento-Hinojosa
      March 2018
      Issue 86
    • bay of angels

      La Baie des Anges

      José Sarmiento-Hinojosa
      March 2018
      Issue 86
    • Eva (Joseph Losey, 1962)

      José Sarmiento-Hinojosa
      March 2018
      Issue 86
    more articles...
    Random
    • Les Astronautes

      Sleepless Satellites: Walerian Borowczyk’s Les astronautes (1959)

      José Sarmiento-Hinojosa
      June 2016
      Cinémathèque Annotations on Film
      Issue 79
  • Great Directors
    Recent
    • Chantal Akerman

      Chantal Akerman

      José Sarmiento-Hinojosa
      February 2018
      Issue 86
    • Sergei Eisenstein

      Sergei Eisenstein

      José Sarmiento-Hinojosa
      December 2017
      Issue 85
    • Max Ophuls

      Max Ophuls

      José Sarmiento-Hinojosa
      December 2017
      Issue 85
    • Lindsay Anderson

      Lindsay Anderson

      José Sarmiento-Hinojosa
      December 2017
      Issue 85
    more articles...
    Random
    • Sam Peckinpah

      José Sarmiento-Hinojosa
      May 2002
      Great Directors
      Issue 20 Issue 20
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Author José Sarmiento-Hinojosa

José Sarmiento-Hinojosa

José Sarmiento-Hinojosa (mind the hyphen in foreign countries) is a lapsed film critic from Lima, Peru, who somehow participated in Berlinale Talent Press 2014 and became co-director of Desistfilm.com and main editor of the upcoming IVO (I'm a Victim of This Film) - Film and Plastic Arts Magazine. Not to be taken seriously. Works can be found at google.

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Architecture as Mirage: Thom Andersen’s Los Angeles Plays Itself (2003)

José Sarmiento-Hinojosa
March 2018
Cinémathèque Annotations on Film
Issue 86
In cinema, the camera is the dispositif, or the manifestation of phantasmagoria. It’s a relatively mechanical presentation of the Plato’s cave allegory: what we see are only ghosts, phantasms, illusions of...
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The Matroyshka Doll of Laughter and Uncertainty: Cristi Puiu’s Sieranevada (2016)

José Sarmiento-Hinojosa
September 2017
Cinémathèque Annotations on Film
Issue 84
In his previous, massively underrated and virtually unseen film Trois exercices d’interprétation (Three Exercises of Interpretation, 2013), Cristi Puiu had already started experimenting with different...
thumb image

The Matroyshka Doll of Laughter and Uncertainty: Cristi Puiu’s Sieranevada (2016)

José Sarmiento-Hinojosa
September 2017
Cinémathèque Annotations on Film
Issue 84
In his previous, massively underrated and virtually unseen film Trois exercices d’interprétation (Three Exercises of Interpretation, 2013), Cristi Puiu had already started experimenting with different...
thumb image

Emphasis on Climax: Catherine Breillat’s A Ma Soeur!

José Sarmiento-Hinojosa
September 2016
Cinémathèque Annotations on Film
Issue 80
Censors tend to do what only psychotics do: they confuse reality with illusion. - David Cronenberg In A Ma Soeur! (2002) (For My Sister, or Fat Girl for English audiences) Catherine Breillat focuses on a sort...

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