Search Results for: "michelangelo antonioni"

One of the legendary figures of the American cinema, the late Monte Hellman (1929 – 2021) is best known for directing Two-Lane Blacktop (1971), considered by many to be the definitive “road movie,” but Hellman’...

Last year, for the first time since 2007, I was unable to attend the Jeonju film festival, as it was in effect canceled, although there was still a program and some local screenings over a few months of many of...

While I would disagree with Mark Kermode, as he argues in his BFI book on the horror classic, that The Exorcist (William Friedkin, 1973) is the greatest film ever made, a strong case can be made that To Live an...

In Postmodernism, or, the Cultural Logic of Late Capitalism, Fredric Jameson famously takes the Westin Bonaventure Hotel as an emblem of postmodern impersonality. “The Bonaventure,” he argues, “aspires to being...

The prolific Canadian director Denis Côté has a new film out, entitled (in English; see below for more on this) Ghost Town Anthology (2019), which has been shown on the festival circuit around the world, and is...

For the third time in a row, the Tiger Award at the International Film Festival Rotterdam (IFFR) went to a newcomer from China. This year, it was bestowed upon Zheng Lu Xinyuan’s debut, Ta fang jian li de yun  ...

In the face of mass death and economic devastation on a worldwide scale, matters of art and entertainment may seem trifling. But the COVID-19 pandemic has had a profound impact on the cinema. With theatres shut...

ENTRIES IN PART 5: Josh B Mabe Ioannis Makris Bob Manning Miguel Marias Jack Mcculloch Joe Mcelhaney Adrian D. Mendizabal Jamie Mendonça Stefano Miraglia Olaf Möller Marcel Müller Peter Nagels An...

Originally published in Senses of Cinema issue 64, September 2012. The objective of this article is to examine the hyperrealist, feminist tactics of Chantal Akerman’s early 1970s films Jeanne Dielman, 23 Qua...

Transcendental style seeks to maximize the mystery of existence; it eschews all conventional interpretations of reality: realism, naturalism, psychologism, romanticism, expressionism, impressionism, and... rati...

Ermanno Olmi’s first feature, Il Posto (1961), is often misrepresented as being a continuation of the tradition of neorealism. This highly influential postwar film movement, which produced such masterpieces as ...

“We’re all children of Kubrick, aren’t we? Is there anything you can do that he hasn’t done?” Paul Thomas Anderson Stanley Kubrick (1927-1999) passed away twenty years ago – on March 7, 1999 – while in the pr...

In this day and age, to watch an older movie, or really any movie, is to watch a digital copy – a file code made up of ones and zeros. That is to say, unless you’re living in a city with a thriving and dedicate...

In the cinema, the long take is an instrument of multifaceted – sometimes paradoxical – power. In a film like Ladri di Biciclette (Bicycle Thieves, Vittorio de Sica, 1948) or Deux jours, une nuit (Two Days, One...

ENTRIES IN PART 2: Thomas Caldwell Michael Campi Nicolas Carrasco Michael J. Casey Celluloid Liberation Front Jeremy Chamberlin Daryl Chin Graiwoot Chulphongsathorn Roberta Ciabarra Adam Cook Jesús...

Makavejev aims to tear down and rebuild the basic blocks of moviemaking itself. Toggling easily, even imperceptibly, between fiction and documentary, his films can appear to be vérité portraits of everyday life...

Odessa boasts an impressive although often overlooked film history and the idea of staging Ukraine’s major international festival in this city is certainly a fortuitous one. Indeed, the festival organisers were...

There it is, on this year’s Venice Classics lineup: Adieu Philippine (1962), Jacques Rozier’s loose-limbed debut about a young TV technician’s dalliance with a pair of Parisian girlfriends as he awaits being dr...

Robert Philip Kolker has given us two very useful film books: The Altering Eye and A Cinema of Loneliness are excellent accounts of post-war European cinema (which take in other parts of the world too), and 197...

I fully admit to having trouble with nostalgia – in life, but especially on film. So searing is the “real” version, I find, it has to be at least partially repressed. Nostalgia’s screen portrayal, meanwhile, ne...

b. 2 November, 1906, Milan, Lombardy, Italy d. 17 March, 1976, Rome, Lazio, Italy Count don Luchino Visconti di Modrone was born to a life of respectability, authority, and affluence. This noble upbringing, a...

Because of the almost insurmountable linguistic barrier between Flemish in Flanders and French in Wallonia, the history of twentieth-century Belgian cinema is best seen as a ‘split screen’ between two language ...

ENTRIES IN PART 1: AFI Research Collection Antti Alanen Francisco Algarín Navarro Juan Carlos Ampie Michael J. Anderson Rowena Santos Aquino Sean Axmaker Martyn Bamber Mike Bartlett Nick Bartlett R...

ENTRIES IN PART 3: William Edwards Jeremy Elphick John K. Emelianoff Kaya Erdinc Eliú Escamilla Adalberto Fonkén Gwendolyn Audrey Foster Mark Freeman Hugo Gamarra E. Sachin Gandhi Stephen Gaunson ...

Andrei Tarkovsky’s epic film about Andrei Roublev, Russia’s most famous icon painter, is a remarkable, deeply reflexive examination of the artist’s role in his particular social-historical reality. It is also c...

6 September 1977. I was not yet eight years old. Helicopters in the air; police cars everywhere. On the way to school, the display of the box with the local newspaper you could buy for a few cents showed an ima...

One hundred and twenty-seven pages into this substantial biography of Eric Rohmer, Antoine de Baecque and Noël Herpe, having described their subject’s quotidian routines, throw up their hands in seeming despair...

“I am not afraid of the war in Algeria. I am not afraid of decolonisation” Like many other companies, the national oil company of Italy, ENI, produced a number of films, particularly between the 1950s and the ...

Editorial It has been 50 years since 1967 and it struck us at Senses of Cinema that not only was this a notable anniversary, but that it also made for an interesting throughline to our cultural experience in t...

Volker Schlöndorff’s 1979 adaptation of Günter Grass’s 1959 novel The Tin Drum remains even by contemporary standards one of the most harrowing German films about World War II ever made. Unquestioningly, a grea...

The year 1967 was significant in cinema history, and if you’re trying to make sense of why, you don’t have to look much further than Mike Nichols’ The Graduate. It is a film which appears at a great turning poi...

“Critics are very impressed by camera movement and what have you, but audiences are impressed by performance.” – Bryan Forbes To those familiar with his work, the mention of the name ‘Bryan Forbes’ can conjure...

Half a century from the moment when British cinema flickered so brightly as to contend on even footing with Hollywood’s most mainstream product in the American market it remains Alexander Walker’s accounts that...

Welcome to Issue 82 of Senses of Cinema. To begin 2017, we decided to celebrate films that turn 50 this year in a bumper dossier we've simply titled 1967: Love Letters. As the title indicates, this is not an at...

Pietro Germi’s satire of Sicilian machismo, Divorce Italian Style, unfolds within the stifling walls of a decaying palace in Agramonte, a town of “slow progress”. For the film’s protagonist, the impoverished ar...

Big Deal on Madonna Street is such a great, catchy, and memorable title that you would hate to lose it. It was the third (at least) tried out by the film’s English-language distributors after Persons Unknown an...