Cinema Year Zero

It’s a cold winter’s night in the UK, and the dazzling floodlights of AFC Newbourne’s home ground are visible for miles in every direction across the London skyline, each dappled beam only matched in…

Something unspoken lies underneath the whole of cinephilia. Well, not exactly unspoken.

For the estimable cineastes confused by last year’s dispatch, may I state for the record: I love the Locarno Film Festival.

If you access Brown Sugar Too Bitter For Me (2013) via Guyanese director Mahadeo Shivraj’s official YouTube account, the first image that appears is a message in white on a black background: “Piracy …

The camera trembles ever so slightly, the unseen cameraperson weary of its illicit recording.

2012’s Trouble With The Curve opens on a then-83 year-old Clint Eastwood in dialogue with his penis, attempting to coax pee out by berating it with gruff, raspy words.

Detective John Anderton spends his days in the future, solving murders that haven’t happened yet.

During each presentation at the fourth and latest edition of New York’s Prismatic Ground film festival,  which focuses on experimental and documentary cinema, the founder and organiser, Inney Prakash…

“I shot the movie in 1993,” rasps the unseen director George Sluizer with a Herzog-like Germanic twang, his haggard voice emanating from the screen as it zooms slowly in on a still photograph: Sluize…

The method of cinema invokes the ghost of reality rather than reanimating it, the technology itself the vessel through which the ghost is projected to the seeing eye.

Digby Houghton reckons with the varying fortunes of the Australian film industry, where, for a time in the ‘70s, titillation was successful in getting arses in local cinema seats.

Ellisha Izumi finds the body and mind separated in the works of Scarlett Johansson, parallelling similar tensions between her MCU-superstar status and her personal sense of self.

Ben Flanagan attempts to make sense of a world mobilised by reaction for reaction’s sake, armed with the Kuleshov effect and Elizabeth Taylor’s curious performance in Identikit.

Joseph Owen recounts his experiences at a Five Flavours Film Festival in Warsaw, in which a new city provides room for thought about how man-made infrastructures impinge on the individual.