Australian short film Switch takes the audience on a journey of regret and remorse from the perspective of a gas station cashier....

Sednaoui spends the time waiting for, then searching out, a mysterious painting, in a lightly avant-garde story she leads with subtle, langu

Cry of the City shares its title with the partially remembered Robert Siodmak noir from 1948, a film in its design and making so fastidiousl

In Claudio Marcotulli’s kaleidoscopic Zenú, Ignacio (Marcotulli) is a musician creatively blocked by the incessant whistling of the trains t

The great French critic André Bazin, commenting on the 1951 film Where No Vultures Fly [Henry Watt, UK], observed of one of its sequences, d

In the enterprise of creating popular cinema a surfeit of filmed and written material is produced and discarded. One feels that the gleaning

A gnomic animation proceeds in which worm-like lifeforms interact with a higher entity. A piece of paper handed down from on high is passed

In Chemicals, Like God, whatever ‘release’ is attained is coded with the displacement implied by the word. The biological imperative to sate

The white-collar workspace of the mid-to-late twentieth century is an assemblage of productivity design concepts: spatial, sartorial, conver

In present circumstances, London seems an unlikely setting for fairy godmothers and last-minute miracles. Irina Pizania’s film Tutu and Poin