Issue 61 | December 2011
Between the lines and to the point: The 68th Venice Film Festival
By the time this report is out, many changes have occurred within Italian and international festival politics. What is left to say now is only
The Last Command: Josef von Sternberg’s Life and Death of a Russian Extra
In a profile of Josef von Sternberg for the New Yorker in March 1931, the year Americans got to see the English-language version of Der
Audience and Industry: The 24th International Documentary Festival Amsterdam
“You bump into experiences, films, each other, opinions…on the internet you’re always searching for something, but during a festival you’re not looking – you’re finding.”
2011 World Poll
The Senses of Cinema 2011 World Poll presents a selection of readers' and writers' favourites (and least favourites) from the realms of theatrical release, festivals
Michel Khleifi
b. November 3, 1950 – Nazareth, Israel From his first film, Al Dhakira al Khasba (Fertile Memory, 1980), Michel Khleifi displays the narrative-documentary style –
Significant Cinema: The Scene of the Crime
The cinema turns every viewer into a detective. Murray Pomerance goes in search of “signs” and their significance in films
We Are Not Innocent Anymore
Originally published in early 1950, this is, quite possibly, the first time Rivette commits his views on cinema to print. And fascinating thoughts they are
L’amour fou: A Revolution in Realism, Reflexivity, and Oneiric Reverie
An excerpt on one of the masterpieces of 6os cinema from Mary Wiles' forthcoming book on Jacques Rivette, published by Illinois University Press.
“Even God Was Overcome by Laziness”: An interview with Aleksandr Sokurov
A true poet of the cinema, the director of, amongst others, Russian Ark and The Sun, talks philosophy, religion, aesthetics and the Russian soul
Son of Atlantis: prologues and epilogues with Sokurov
Using interview footage of Sokurov and combining it with other elements, the filmmakers produce a contemplative video-essay on the director