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Issue 34

My Own Private New Queer Cinema

Re-visiting acclaimed New Queer cinema of the early '90s reveals an irreverence and energy at odds with the gay experience of the AIDS Crisis of

Cul-de-Sac

Cul-de-Sac (1966 Britain 107 mins) Source: Sharmill Films Prod Co: Compton Films/Tekli Film Productions Prod: Gene Gutowski Dir: Roman Polanski Scr: Roman Polanski, Gerard Brach

What is to be Done: The 5th Calgary International Film Festival

September 24–October 3, 2004 Calgary is easily Canada’s most contrarian city. It is the fastest growing city in Canada and goes to almost absurdist lengths

The Age of Enlightenment: Anxiety? Revolution! The Explosion of World Cinema in the Sixties by Peter Cowie

If the word “revolution” in Peter Cowie’s title functions to hint at the complete artistic and expressive renewal that filmmaking began to undergo during the

Triple Agent: Portrait of the Unknowable Other, Reflection of the Unknowable Self

Not just a “spy movie”, Rohmer's film is a stylish summation of his 50-year career and, more than tackling his lifelong occupation with verbal interaction

Returning to Cinematic Roots: The 7th queerDOC Festival

September 9–12, 2004 Valhalla Cinema, Sydney The change of venue for this year’s queerDOC festival, the international documentary film festival presented by Queer Screen, harked

Family Meals, Family Values, and Philippine Cinema: An Interview with Independent Filmmaker Khavn De la Cruz

Interview with the prolific, DV-loving independent filmmaker Khavn whose latest film The Family That Eats Soil recently premiered at Rotterdam

Blowup

Blowup (1966 UK 111 mins) Source: Chapel Films Prod Co: Bridge Films/MGM Prod: Carlo Ponti Dir: Michelangelo Antonioni Scr: Michelangelo Antonioni, Edward Bond, Tonino Guerra,

Free, Radical: The 49th Cork Film Festival

October 10–17, 2004 Like any substantial film festival, the Cork program presents an imposingly dense block of cinema out of which each viewer must carve

Russian Soul, Eurotrance: Instant Light: Tarkovsky Polaroids edited by Giovanni Chiaramonte and Andrei A. Tarkovsky

If only because of the softness of the image, and that unavoidably yellowy-brown colour palette characteristic of Polaroid snaps, these photographs could not deserve recognition

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