Issue 21
Everybody’s Different: Valeska Grisebach’s Mein Stern
Keen discussion of Mein Stern, an example of a recent trend of realism in German cinema, followed by an interview with the director
Festival De Cannes 2002 – A Report
May 15-26 2002 Having attended the Cannes Film Festival as a film distributor on the lookout for films with the promise of commercial success, I
Cold, Cold Heart: Joseph Losey’s The Damned and the Compensations of Genre
In favour of Losey's genre work, Sanjek puts forward The Damned as a crazed, rich highlight
John Ford
b. Sean Aloysius O’Fearna (1) b. Feb 1, 1895, Maine, USA. d. August 31, 1973, Palm Desert, California, USA. filmography bibliography articles in Senses web
The Woman in the Window
The Woman in the Window (1944 USA 90 mins) 35mm Source: MGM/Hollywood Classics Prod Co: RKO/International Pictures Prod: Nunnally Johnson Scr: Nunnally Johnson, from the
Introduction: Harun Farocki
Overview and discussion of long-time German-based filmmaker and artist, Farocki, who has emerged to occupy a unique place in film history
Spotlight on the 51st Melbourne International Film Festival: Festival Wrap-Up
Back to Daily Updates Posted Wednesday 24 July – Saturday 10 August Posted Monday 12 August (Festival Wrap-Up) * * * by Anthony Carew Kathleen
Losey Revisited
Leahy introduces his 1967 piece on Blind Date, a film rich in allusion about the commodification of human relationships
Todd Haynes
b. January 2, 1961, Los Angeles, California, USA. filmography bibliography web resources Threes are key to understanding Todd Haynes’ cinema. As of this writing, his
Phantom Lady
Readers please note: the first paragraph of this annotation gives away the film’s story. Phantom Lady (1944 USA 87 mins) 35mm Source: BFI/UIP Prod Co: