In an exclusive essay for Filmatique, assistant curator Marisa Winckowski assesses the prevailing truth of quiet moments in Samuel Kishi Leopo's coming-of-age film Somos Mari Pepa.
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In an exclusive essay for Filmatique, Afroditi Nikolaidou discusses Afterlov in the context of the Greek New Wave, and how the movement's filming of luxury spaces mediates the Greek crisis in distorted and hidden ways—as the locus of enclosure and confinement, of a borrowed life, of an imaginary future.
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In an exclusive essay for Filmatique, Dr. Paula Halperin assesses the intimate natural world and bonds of family in Two Gates of Sleep vis-à-vis common tropes of regional and contemporary indie cinema.
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In an exclusive essay for Filmatique, Professor Maria Fritsche analyzes the static camerawork and diegetic soundscape of Austerlitz, and how the film functions as a composite portrait of ourselves.
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In an exclusive essay for Filmatique, assistant curator Marisa Winckowski explores the irony and cinematic exercise of creating something out of nothing in For the Plasma.
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In an exclusive essay for Filmatique, Wisconsin Film Festival Artistic Director J.J. Murphy discusses the assured and poetic visual style, and powerhouse performances, of Amy Seimetz's debut feature Sun Don't Shine.
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In an exclusive essay for Filmatique, Dr. Paula Halperin examines Minotauro within Nicolás Pereda's diverse and accomplished body of work—an attempt to unveil the texture of societal power relations through people's everyday interactions, hopes, and dreams.
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In an exclusive essay for Filmatique, Dr. Paula Halperin explores performance and the melding of reality with art in Charly Braun's second feature Vermelho Russo (Russian Red).
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In an exclusive essay for Filmatique, Marisa Winckowski explores the mirroring of three instances in which Anishoara discovers her role as an object of desire, subtly underlining her transition from youth to young adulthood.
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In an exclusive essay for Filmatique, Dr. Paula Halperin examines the uncertain ties between space and history, history and memory, in Independência, a chronicle of Angola's fight for freedom.
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In an exclusive essay for Filmatique, Dr. Tim Palmer surveys In Bed with Victoria as a teeming distillation of contemporary French cinema at its most inventive and incisive—deconstructing the French New Wave's notorious 1960s pledge to divorce intellectual filmmaking from France's debased commercial sector, and ushering in a new mold of pro-female cinema.
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In an exclusive essay for Filmatique, Dr. Sylvie Blum-Reid explores Swagger in the context of classical documentaries, La Haine and French suburban cinema of the 90s.
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In an exclusive essay for Filmatique, Dr. Catherine Leen examines the ethics of documentary filmmaking and the activist role El Tiempo Nublado (Cloudy Times) plays in addressing Paraguay's broken senior-care system.
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In an exclusive essay for Filmatique, Dr. Vinodh Venkatesh explores the symbolism and aesthetics of death and dystopia in El Limpiador within the context of Peru's new wave of young directors and the country's recent history of terrorism with the Shining Path.
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In an exclusive essay for Filmatique, Dr. Paula Halperin discusses the power of landscapes, memory—both collective and personal—and Girimunho (Swirl) as an exemplary film from the Brazilian Teia collective's oeuvre.
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In an exclusive essay for Filmatique, Dr. Stefanie Van De Peer examines the condensed time and space of Hala Lofty's Coming Forth by Day within the context of Egyptian cinema post-revolution.
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In an exclusive essay for Filmatique, Dr. Will Higbee discusses censorship, political allegory, and the universal themes and influences of Egyptian filmmaker Nadine Khan's feature film debut, Chaos, Disorder.
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In an exclusive essay for Filmatique, Dr. Jamal Bahmad assesses how the economic and social reforms of King Mohamed VI's reign inspired a new movement of transnational Moroccan cinema, from the films of Nabil Ayouch to Mochine Besri's The Miscreants.
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In an exclusive essay for Filmatique, Dr. Jarmo Valkola discusses Close Relations, Vitaly Mansky's creation of a political diary with its own aesthetics and form of fragmentary narration focusing on the atmospheric situation in contemporary Ukraine.
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In an exclusive essay for Filmatique, the Director of the National Film Archive of Estonia Eva Näripea reflects on Triin Ruumet’s film The Days That Confused and two eras of Estonian society—before and after the rampant neoliberalization of the country's economy—symbolizing the coming of age of an entire nation.
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