Issue 54
Bright Leaves
A hot topic in literary circles of late has been whether the memoir has successfully superseded forms of fiction as the pre-eminent formal expression of
Aelita: Queen of Mars
Yakov Protazanov’s 1924 film, Aelita, begins in December of 1921 with the worldwide transmission of a cryptic message. An iris revealing a set of powerlines
Les Demoiselles de Rochefort
If Jacques Demy’s Les parapluies de Cherbourg (The Umbrellas of Cherbourg, 1964) is a film without generic precedent – as an all-sung, jazz opera on
Blood on the Rainbow: Jacques Demy and Une chambre en ville
“There are few films I have so longed to make”, said Jacques Demy of Une chambre en ville. “Few I have dreamed of as much
Lola
Roy Armes claimed that Max Ophuls, to whom Lola is dedicated, was a cinematic “test case”: For those whose concern is purely visual and whose
Scandal
Shubun/Scandal was the final film legendary director Akira Kurosawa made before catapulting to international fame with Rashomon (1950). As such, it is a waypost that
No Regrets for Our Youth
Akira Kurosawa’s fifth feature film, and his first following the end of World War II, Waga seishun ni kuinashi (No Regrets for Our Youth) is
Men Won’t Cry – Traces of a Repressive Past: The 28th Vancouver International Film Festival
Odd Man Out With the plurality of choices it offers, a film festival constitutes a meta-text – and what you write about, ultimately, is your
Whatever Happens to Someone, Happens to Everyone: Film Mutations: Third Festival of Invisible Cinema
When film festivals come into existence, they result from the perception of both an abundance and a lack. It needs someone to see the riches
The Major and the Minor: The 27th Torino Film Festival
The image – plastered on the front windows of the various participating cinemas, on the cover of the ubiquitous program guides clutched by patrons as