ESSAYS
March 22, 2010
One of the most interesting aspects of South-American cinema is its post-colonial perspective. Having lived myself and being raised in a Third-world country, I can identify and relate to the plight of South-American characters, living up to their (displaced) roots while fighting their imposed colonial heritage. I’ve seen firsthand the social stratification that the colonial rule instilled into the indigenous […]
September 30, 2010
Central Station is one of the most popular and internationally acclaimed Brazilian films of the 1990s. It heralded a renaissance in Brazilian cinema.
March 26, 2010
In Felicidades,several lives intersect on Christmas Eve in Buenos Aires as they all strive not to spend the holidays alone.
September 28, 2010
This essay will explore the duality of Cronenberg’s works, as a statement on man’s curiosity and an open window to the unknown in Videodrome and eXistenZ.
March 22, 2010
The most striking aspect of the movie Araya is its beautifully contrasted black-and-white photography. Benacerraf effectively conveys her love of Venezuela.
October 1, 2010
In its perspectives and traditions, African cinema draws the spectator into its narrative, nurturing a symbiotic relationship with life itself.
March 22, 2010
What I found most interesting in The World Of Apu is how much the representation of India came so close to my vision of Haiti, my native country.
March 26, 2010
he City and the Dogs, based on the popular novel of the same name by Mario Vargas Llosa, is an allegory of power in South America.
September 28, 2010
David Ehrenstein condemns melodramas like Coming Home for perpetuating the illusion that they can affect social change instead of creating real change.
June 3, 2011
“Most critics really don’t get it.”, as they say. I feel compelled to respond to the casual filmgoers who don't understand the critic’s perspective.
September 28, 2010
Hou Hsiao Hsien’s depiction of life in Flowers of ShanghaÏ explores the inherent contradictions in the era’s Chinese society.
October 1, 2010
In Come Drink With Me, King Hu considers each of the director’s tools, using camera movement differently than editing or the wide-screen space.