Senses of Cinema
Established in Melbourne (Australia) in 1999, Senses of Cinema is one of the first online film journals of its kind and has set the standard for professional, high quality film-related content on the Internet. The online journal is devoted to the serious and eclectic discussion of cinema.
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Latest posts
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Acousmatic Retention in Anne-Marie Miéville’s Le Livre de Marie
Sound precedes the image here. Anne-Marie Miéville’s short film Le Livre de Marie (1985) announces itself acoustically: a black screen appears with the opening credits accompanied by the noise of small waves lapping and breaking, squawking gulls and chirping birds, and other…
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A Little Too Close to Home: Les Tricheurs
Imagine having grown up during the worst war history has ever known. As a child you knew rationing, endured the absence of your parents and the devastation of your towns and cities. Ten years after the war ends you come of age. The economy is looking up, but unemployment is rife…
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Nights That Won’t Happen: Haunted Cities, Spectral Intimacies and Lost Futures in All of Us Strangers and The Beast
“The reality that I had known no longer existed … The places that we have known belong now only to the little world of space on which we map them for our own convenience. None of them were ever more than a thin slice, held between the contiguous impressions that composed our…
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A Daughter of Revolution: Marta Mateus on her films
By her own admission, Marta Mateus is a filmmaker who belongs to a tradition. In fact, there are at least two that could be named, one pertaining to style and the other to content. Her use of natural light, location shooting, and non-professional actors place her work within a…
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Big Questions in the Small Form
While Stephen Lee Naish’s Post-Catastrophe Film is a very useful examination of recent works that, in one way or another, explore what life would look like after various societally-transforming events, the book is at its most intriguing in its first section. Here, Naish speaks…
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Revolutions of the Self: Antifascism and the Avant-Garde: Radical Documentary in the 1960s, by Julia Alekseyeva
In her introduction to Antifascism and the Avant-Garde: Radical Documentary in the 1960s, Julia Alekseyeva dwells on a brief sequence from Dziga Vertov’s landmark work Man with a Movie Camera: a woman wields a rifle at a gun club, and trains her aim at the target, a cutout of a…
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Nakahira, Kō
b. January 3, 1926, Tokyo, Japan d. September 11, 1978, Tokyo, Japan 1. New Wave Maker A skronking, sickening saxophone wails decadently as a speeding motorboat cuts across darkly glittering waters, its teenage driver – his eyes flickering with feral intensity – coming into view…
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Disobedient Images: DokuFest at 25
It’s easy to get confused in Kosovo. DokuFest is a film festival that predates the country it operates within, and was established in a town without a cinema. It’s also a documentary film festival in a nation that has a very complicated relationship with documentation. A lot of…
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The Heat is On (Generational Divides): The 79th Locarno Film Festival
At the end of the Locarno Film Festival each year, the festival dutifully announces its attendance figures, which have generally been rising over the past several years as travel and tourism recovered from the COVID pandemic. But this edition, the numbers included an anomaly:…
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Issue 119 Welcomes You!
Another 90 degrees around the Sun and Issue 119 has landed in overfull inboxes the world over. (If you are not already a subscriber, join our mailing list, gratis.) Unapologetically global, eclectic, and adventurous, this edition of the Journal sees us bid wistful adieu to Abel…
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The art of shaping a festival: conversation with Karel Och, artistic director of the Karlovy Vary International Film Festival
Few film festivals can claim a main venue designed to resemble a camera when seen from above. Karlovy Vary International Film Festival (KVIFF) does. Rising abruptly in the middle of the narrow valley, the Hotel Thermal stands in striking contrast to the elegant 19th-century…
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Grain, Rebellion and the Radical Uses of Super 8 in Brazil
When a close-up of an anus in full activity appeared in one of the films screened at the Brazilian Short Film Festival of Salvador in 1977, the audience’s reaction was inevitable. The film was the Super 8 production O Rei do Cagaço (The King of Shitting, Edgard Navarro, 1977),…
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80 is the New 60: More Into than Out of the Past at the 2026 Karlovy Vary International Film Festival
In 2026, the Karlovy Vary International Film Festival (KVIFF) simultaneously turned 60 (editions) and 80 (years since inauguration). This disparity is due to its forced alternation with the Moscow International Film Festival from 1959 to ‘93, a requirement for it to retain its…
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How to start a war: A Conversation with Ivan Ramljak
Croatian director Ivan Ramljak’s docu-noir Mirotvorac (Peacemaker, 2025) is one of the most explosive political films of the past year. Set in 1991, it unfolds entirely through archival footage and voice-over testimonies. Peacemaker takes viewers on an investigation into the…
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Think of the Children: Childlike Wonder and Death in the Films of Hayakawa Chie, Sōmai Shinji, and Edward Yang
There are two things you should know about Fuki (Suzuki Yui), the 11-year-old at the heart of Hayakawa Chie’s sophomore film Renoir (2025) which premiered at Cannes last year. One: She has the best horse impression in all of eighties Japan. Two: Her father Keiji (Lily Franky) is…
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“He is driving, but he is also driven by something”: Sebastian Brameshuber on London
Austrian writer/director Sebastian Brameshuber’s London (2026), a wistful and engaging road movie, benefits from the director’s background in documentary. ,His talent is in extracting truth from his subjects, which have ranged from a Nigerian who exports used cars (Movements of…
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Cinema Macabre: The Mare and the Guillotine
“Nothing, as a matter of fact, is more closed to us than this animal life from which we are descended. … Animal life, halfway distant from our consciousness, presents us with a disconcerting enigma. In picturing the universe without man, a universe in which only the animal’s…
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When We Were Wolves: José Giovanni, Le Grand Collaborateur
“Let’s take a plunge together – into some murky waters.” – Les Loups entre eux (Among Wolves, 1985) MY NAME IS JO… The highly controversial, highly entertaining and occasionally (pleasantly) surprising José Giovanni retrospective at the 74th San Sebastian International Film…
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‘The main character is the place’: seven days (and films) with Lisandro Alonso in Naarm/Melbourne
Since his first feature La libertad premiered in Un Certain Regard in 2001, every one of Lisandro Alonso’s films has made its debut at Cannes. His work has appeared across the festival’s major sections and, although he has yet to screen in the Official Competition, Alonso is…
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Odes and Occasions of Art Cinema, at TIFF 51
As summer gives way to early autumn, so begins the late-year succession of global film fests. Spanning the mountain resorts of Telluride and Locarno, the opulent canals of Venice, and the sprawling cityscapes of Toronto and New York, a flurry of films occupies a collective media…