Issue 61 | December 2011
An insightful historical survey of the practice and aesthetics of visual abstraction from silent cinema to the present.
This year marks the 40th anniversary of France’s first filmmakers’ co-op, the Collectif Juene Cinéma. Marcel Mazé, founder and president, discusses its fascinating history
Though he shared a San Francisco studio loft in the 1960s with friends Francis Ford Coppola and George Lucas, John Korty eschewed the studio system
When fire destroyed the negative to Sara Driver’s 1982 debut feature, the film was thought lost forever. And then, the fortuitous discovery of a print
The folly of Lars von Trier’s words at Cannes should not taint the achievements of this mesmerising and haunting film.
As fate would have it, this colossal film stands as Raul Ruiz’s swansong. No better way to end a long and labyrinthine career.
“The brain is the flesh.” Using ‘Artaud-Deleuze’ as a guide, Marko Bauer traverses the cerebral territory of Gaspar Noé’s film. Enter at your peril.
The Closed World: The Films of Shinoda Masahiro – Surface play and subterfuge in the movies of a modern classicist
David Phelps provides a comprehensive analysis of the stylist features of one of the great directors of the Japanese New Wave
Considered one of the best offerings from recent Iranian cinema, Joseph Burke argues that one of the achievements of A Separation is to “make us
In the afterglow of Wim Wenders’ Pina, Miriam Ross looks at the re-invention of the dance film in the 3D era.