Issue Archive
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Irish Cinema
- The Documentary Genre and Healing Ireland’s Transgenerational Trauma
- Imagining the Irish Revolution on Film
- Location Nation: A Regional Irish Cinema Part 1: The Wild Atlantic Way and The West
- Location Nation: A Regional Irish Cinema, Part 2: : The Midlands
- Location Nation: A Regional Irish Cinema, Part 3: And the Rest (plus a Conclusion)
- Questions and Answers with Apocalypse Clown director George Kane
- A Conversation with Independent Filmmaker Chiara Viale
- State of ImagiNation: The Fifth Province of Irish Cinema
- The Fantastic Worlds of Lorcan Finnegan
- You Are Not My Mother (Kate Dolan, Ireland, 2021)
Irish Horror Cinema Comes of Age
- Broken Friendship: Banshees of Inisherin by Martin McDonagh
- Dark Mirror: The Films of Charles Brackett and Billy Wilder
- The 27th Tallinn Black Nights Film Festival (PӦFF)
- PӦFF (Tallinn Black Nights Film Festival ) Interview: Director Deimantas Narkevičius on Twittering Soul
- 100 and 101 Years Ago: The Best Films of 1922 and 1923
- The Documentary Genre and Healing Ireland’s Transgenerational Trauma
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Festivals Here and There
- Vancouver’s Narrative Architecture
Dispossessing the Marginalized
- Festival of Nouveau Cinema (FNC) 2022: Three Stand Out Canadian Features
- FNC 2022: Reporting My Tastes
- How to Make an Avant-Garde Film Without Completely Disappearing Up Your Own Ass: The 47th Toronto International Film Festival
- Listening to Voices: TIFF 2023
- Yes! Let’s Make a Movie Film Festival: Adding Horror to Saturday Afternoon
- As Bestas (2022): Of You the Tale is Told
- Privileged Position: A Paris Education (Jean-Paul Civeyrac, 2018)
- ‘Original Copy’: Inverting Platonism in Abbas Kiarostami’s Certified Copy
- Tár, a Maestro of Evasive Intent
- The Passion of Joan of Arc: The Censorship and Rediscovery of a Silent Film Classic
- Challenger of Categories: Neruda, a film by Pablo Larrain
- “Nicolas Who?”
An Irreverently Linear Journey through the Films of Nicolas Roeg, Director of Well Over Four Films
- Don’t Look Now (Nicolas Roeg, 1973): A Portrait of Venice in the Winter
- Mirrors, Murders, and Morals: A Reexamination of Jim Jarmusch’s Dead Man
- Vancouver’s Narrative Architecture
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Fantasia 2022 Coverage and Other Festivals
- Fantasia 2022: Views From The East
- Retrovision at Fantasia 2022
- An Interview with Alexandre O. Philippe
Talking About Lynch/Oz at The Fantasia International Film Festival 2022
- Fantasia 2022: Reporting From the Frontlines
- Unsane and the Consequences of Gaslighting
- The 27th Bucheon International Fantastic Film Festival
- Sheffield International Documentary Festival: Forward-Thinking Cinema in the UK’s Steel City
- The World’s Greatest Film Festival: The Nitrate Picture Show, Rochester, New York
- ‘Game Horror’ as a Reflection of America
- BlackBerry: “Men will no longer commute, they will communicate”
- Fantasia 2022: Views From The East
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Architecture, Tarkovsky, Documentary, and Book Reviews
- Hitch on Hitch, or a parade of cameos
- “It belongs to you and your fellow passengers alone”: on Shivers (1975), Nuns’ Island, Mies van der Rohe, and Montreal’s haunted utopian urbanism
- Metropolis or: the insidious nature of Fascism
- Zones: Post-industrial aesthetics and environments after Stalker
- Andrey Tarkovsky: A Cinema of Prayer (Andrey A. Tarkovsky, 2019)
- An essayistic contemplation on humanity and artificial creativity in Opus Cope: An Algorithmic Opera (2021)
- Mockumentary in the Hands of Peter Watkins
- Citizenfour: Decrypting State Voyeurism
- Celluloid and Other Intimacies in Geographies of Solitude
- Perfumed Nightmare (1980), dir. Kiplat Tahimik
- Descriptive Audio: Direct Address in Banksy’s Exit Through the Gift Shop and Werner Herzog’s Little Dieter Needs to Fly
- Reporting from the Retail Apocalypse: A Review of Point of Sale: Analyzing Media Retail Book Review
- In Search of Home: Cultural Traditions and Richard Deming’s book The Art of the Ordinary: The Everyday Domain of Art, Film, Philosophy, and Poetry
- Los Angeles Eats Itself: L.A. Private Eyes and the Hard Boiled Tradition
- The Big Goodbye: Chinatown and the Last Years of Hollywood
- Hitch on Hitch, or a parade of cameos
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Global Cinema Part 2 and Thoughts on Alfred Hitchcock
- The Forestmaker: Reportage, Poetry, and Advocacy
- In Search of Complexity: America, India, and Pakistan in Mira Nair’s The Namesake and The Reluctant Fundamentalist
- A Modest Meditation on Mexican Modernism: Alonso Ruizpalacios’s Güeros and Alejandro González Iñárritu’s The Revenant
- Unmaking Meaning: Motivation and Materiality in Danièle Huillet and Jean-Marie Straub’s Too Early/Too Late and Carl Theodor Dreyer’s Gertrud
- Sports Queen (1934): Li Lili, the Physical Fitness Propaganda Film, and the New Life Movement of the 1930s
- The Cineclub/Film Society 30th Anniversary Screening
- Alfred Hitchcock and the Moving Camera: Authorship, Style, and Declarative Aesthetics
- The Girl Who Knew Too Much: Shadow of a Doubt (1943) Part One, The Gothic Girls of Hollywood
- The Girl Who Knew Too Much: Shadow of a Doubt (1943) Part Two, Gone Girl
- The Birds and the Mechanisms of Suspense
- The Forestmaker: Reportage, Poetry, and Advocacy
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Perspectives on Global Cinemas
- Exterminate all the Brutes (Raoul Peck, 2021) & Speakers for the Dead (David Sutherland & Jennifer Holness, 2000)
- Land in Outback Noir Films: Trope of Spatial Alienation of Aboriginal People in Ivan Sen’s Mystery Road (2013) and Goldstone (2016)
- Soul Sisterhood: A Continuous Take on Pasifika Femininity, Heritage, and Community in Vai (2019)
- A Synchronous Brew of Spice, Song, and Memory: Unpacking the Transgressive Layers of Ritesh Batra’s The Lunchbox
- In the Bright Shadow of Gandhi’s Hope: Tragic Choices in Deepa Mehta’s Water and Gurinder Chadha’s Viceroy’s House
- Exterminate all the Brutes (Raoul Peck, 2021) & Speakers for the Dead (David Sutherland & Jennifer Holness, 2000)
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The Digital Long Take, Political Views on Cinema, Film Festivals, and more
- 1917: The ‘Hard Work’ of the Digital Long Take
- Sōmai Shinji, the Forgotten Master of Long Take and Coming-of-Age Cinema
- Children of Men: A Witness to Absurdity
- Time and Its Other
The Temporal Landscapes of Béla Tarr
- To the Bitter End: Looking Back at Mikio Naruse’s Doomed Romances
- Berlinale 2022: The Great Restart
- 36th Leeds International Film Festival 3-17 November 2022
- The London Film Festival, 2022
- Benjamin Halligan, Hotbeds of Licentiousness: The British Glamour Film and the Permissive Society
- Mrs. Dalloway and The Hours: The Slippery Divide Between Fiction and Reality
- Hollywood & Human Progress: Imagining a Better Future
- Friendship and Historical Materialism in Raoul Peck’s The Young Karl Marx
- Eerie Totality in Bertrand Bonello’s Nocturama
- Caro Diaro and Other Films
- American Masters and Monsters: Jefferson in Paris and The Golden Bowl, two films of love and power by James Ivory, Ruth Prawer Jhabvala, and Ismail Merchant
- 1917: The ‘Hard Work’ of the Digital Long Take
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Gender, Death, and FNC 2021
- Traumatised and Traumatising Performances: Men and Rose Plays Julie
- What does Men (2022) really tell about men?
- Harvey Weinstein. Just typing his name makes my skin crawl
Hollywood Ending: Harvey Weinstein and the Culture of Silence
- The Final Girl and Male vs. Female Representation in Horror Films
- The Experience of a Life Time: Death, Mortal Peril, and Adventure on Screen
- I think therefore I am? Gaspar Noé‘s Vortex
- The Murder of a Category: The Promise (Terry George, 2016) and Idealism, History, and Armenian Genocide in Turkey
- FNC 2021: Festival du Nouveau Cinéma
Back in Theatres
- FNC 2021: Experimental Film Selections
- A Festival on the last of the Greek Islands
Beyond Borders Festival
- Traumatised and Traumatising Performances: Men and Rose Plays Julie
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Fantasia International Film Festival 2021
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Indigenous Themed Films
- The Many are One: The Wholeness of Native Americans in Te Ata (Frankowski, 2016)
- The Reclamation of Culture: Smoke Signals and Skins by Chris Eyre
- Indian Horse: Hockey Night In (a not so benevolent) Canada
- “We Knew They Would Come for Us”: Danis Goulet’s Night Raiders (2021)
- Representation of The Stolen Generation in Select Australian Feature Films
- The Many are One: The Wholeness of Native Americans in Te Ata (Frankowski, 2016)
