letters to Chantal

8 Classic Political Films to Revisit in a Tumultuous Year

The Room Next Door – Hablas inglés? | Viennale 2024

The Shrouds – Forever Living and Dead, Wrapped in Pixels

Ink Wash – The New Transition

Postcard from Prizren. The new (dis)order, at DokuFest 2024

A Few Notes on the Relationship Between Film Critics and Filmmakers | A Sunday in the Country, New Horizons 2024

Polyester – Oh, Mother!

Life is a Minefield: the cinema of Thomas Heise

TIFF 2024: Ext. Car. Night

Anora: Leaving Las Vegas | Palme d’Or 2024

All We Imagine As Light: Mumbai Story | Cannes 2024

Grand Tour: Abandoning oneself to the world | Cannes 2024

The Apprentice – The Jackal on 42nd Street | Cannes 2024

Bird: Spread Your Wings | Cannes 2024

Three Kilometers to the End of the World: From Afar | Cannes 2024

The Graveyard of the Eye. Notes on Images of War, Surrounding “Civil War” | The State of Cinema

“The end of history never arrived.” Some highlights from Visions du Réel 2024

No Other Land – We must ceaselessly look at the images that come from the margins towards the center

”One window for beholding”. Maryam Tafakory’s cine-poems

An island you’ve never seen: Matías Piñeiro discusses Tú me abrasas

Auf Wiedersehen! A few thoughts on cinema, criticism, and politics surrounding this year’s Berlinale

A Traveler’s Needs – Being Somebody Else | Berlinale 2024

L’Empire – Beyond Good and Evil | Berlinale 2024

Interview about a film that does(n’t) exist: Fabrice Aragno, on Jean-Luc Godard’s Drôles de Guerres

A Declaration of Love and Trust: Nanni Moretti, on A Brighter Tomorrow

Eduardo Williams: “My hope is that you can forget about the camera, and just be there with the people”

Fallen Leaves – Hope Dies Last

Mar del Plata 38: Cinema and Democracy

The Walls Can Talk – Inside the Cave

Strawberry Fields | The retrospectives at Viennale 2023

The Taste of Things: No Love Sincerer Than…

MMXX – Does anyone have a Nokia charger?

In the Year of Long Films: on Duration in the Digital World | The State of Cinema

Master Gardener – American Landscaping

Don’t Expect Too Much From the End of the World – The Living and The Dead

A Specter Haunts the Cinema: Barbie, or the Nostalgia for Futures Past

Half-time: what does Romanian cinema look like, mid-year? | The State of Cinema 

Bonne seance! | Cannes 76: an analysis

Anatomy of a Fall: I don’t know what you heard about me… | Palme d’Or

The Zone of Interest, by Jonathan Glazer: Treatise on Abomination | Cannes 76

Killers of The Flower Moon, Martin Scorsese: The Burning Plain | Cannes 76

On mental health in the Romanian film industry | The State of Cinema

IndieLisboa 20: Postcard from Lusitania

Visions du Reel 2023: The spark of (non-)fiction

Panică și antreprenoriat moral în discursurile românești despre cinema | The State of Cinema

How will the Cultural Workers’ Statute change the lives of Romanian film workers? | The State of Cinema

In The Shadow of Trees: the seasons of Kiarostami

To the North: a discussion with Mihai Mincan and George Chiper-Lillemark

Berlinale 73: The Bookkeepers and The Filmmakers

Mammalia and Between Revolutions | Berlinale 2023

Jobs, capital, and sex in the New Romanian Popular Cinema | The State of Cinema

Festival Diary: Berlinale 2023

The Omnipresence of Gender Violence in the New Romanian Cinema

Pier Paolo Pasolini’s Writings on Literature and Arts: the language of cinema, the language of life

Corsage: Beyond biography

The Confessions of a First-time Voter in the Sight and Sound Poll | The State of Cinema

Luminescences from the Philippines | Ji.hlava 26

Viennale 2022: The Fires of Cinema

Time’s up: on the recent protests of Romanian students and filmmakers | The State of Cinema

Festival diary: Astra 29

Does Romania really have too many theater and film graduates? | The State of Cinema

Vortex: Chronicle of a Death Foretold

Zuhal – Meow | Anonimul 2022

Kammerspiele: Romanian Shorts at Anonimul 19

The Fragility of Online Archives | The State of Cinema

Feature Film About Life: Mourning Diary | TIFF 2022

Godland: The Holy Spirit | TIFF 2022

On curating cinema in a world of precarity | The State of Cinema

Cannes 2022. Black and White

Cannes 2022 | The Stars at Noon – Delirium

R.M.N. – On society’s terminal illnesses

„They (didn’t) confuse me”. Thoughts on the Gopo Awards and on Filantropica | The State of Cinema

Stolen Festivals. 3 Romanian Festivals whose Identities were Copied on FilmFreeway | The State of Cinema

L’Îlot: a certain regard | Visions du Réel 2022

Echoes of the recent past: on “Maidan” and “Close Relations”

100 years of Pasolini: indisputably unrepeatable | The State of Cinema

I never asked you for a rose garden | The State of Cinema

Rotterdam 2022: 5 Emerging Talents

The Island – Crusoe goes to Lampedusa

The Power of the Dog – Wolves in sheep’s clothing

2021, as it happened in Romanian film | The State of Cinema

What is the IATSE strike – and why it matters (beyond Hollywood) | The State of Cinema

Sympathy for The Devil: Bruno Dumont, despre „France” | Viennale 2021

A reflection of a reflection of a reflection: You Are Ceaușescu to Me | Ji.hlava 25

The Curious History of the Vanishing Film Festival

Aloners. On solitude | San Sebastian 2021

Cinéma La Clef. A pocket guide to cinematic insubordination

Locarno 2020. Zeros and Ones – Minus and Minus Equals Plus

Archives as testimonies. Raluca Durbacă discusses “The Certainty of Proabilities”

The familiar faces of Luminița Gheorghiu

Dispatch from a reopening world: how will the summer of 2021 look like?

Postcards from Annecy ’21

Relativity: Oberhausen 2021

Was 2020 truly the “year of the Romanian documentary”?

Home is a space in time: Visions du Réel 2021

From Langlois to “la loupe”: thoughts on piracy

Pandemic aesthetics | Berlinale.71

After one year of the pandemic, what is the future of local cinema and culture?

Petite Maman: Tout petit, mais très fort | Berlinale.71

Bad Luck Banging or Loony Porn: Wow | Berlinale.71

Young filmmakers have everything to lose in the film industry’s crisis | The State of Cinema

Dispatch from a digitalised world: IFFR 2021

Audiovisual in Opposition: an interview with Irina Trocan

Finding the „you” in „me”: an interview with Naomi Kawase

BIEFF.10. Nostalgia as a political tool: a talk with Jorge Jácome

Mihai Mitrică discusses Animest 2020: „Ours was a happy case, compared to similar events”

Survey: How did the reopening of Romanian cinemas look like?

One World Romania 2020. Adrian Cioflâncă discusses “The Exit of the Trains”

BIDFF 2020. The politics of dance: an interview with Patrice Nezan

One World Romania 2020. Heimat ist ein Raum aus Zeit

TIFF 2020. 5 female-directed shorts

TIFF 2020. Tudor Platon discusses “House of Dolls”

Female gaze(s): On F-Sides, with Ioana Diaconu and Alexandra Lulache

In other words: an interview with Corneliu Porumboiu

Cinema Elvire Popesco, en plein air: a discussion with Ioana Dragomirescu

Cinem@acasă: visions of isolation

Oberhausen 2020: on manifesting

An Unusual Summer. Notes on surveillance video

Survey: How has the COVID-19 crisis affected the Romanian film industry? Part II

Survey: How has the COVID-19 crisis affected the Romanian film industry? Part I

Berlinale 2020: Valeria Sarmiento, on “The Tango of The Widower and its distorting mirror”

Dorian Boguța and Irina Rădulescu, on The Legacy

On Uppercase Print, with Gianina Cărbunariu, Ioana Iacob and Șerban Lazarovici

The Oak: the Story Behind the First Ever Romanian Restoration

Videograms of a Nation: How to (re)evaluate a national cinema

Between “Shadows” and “Scarred Hearts”: an interview with Șerban Pavlu

From Bazin to the present. An interview with Andrei Gorzo – part II

What do we talk about when we talk about film criticism? An interview with Andrei Gorzo – part I

“No means no”. An interview with Dana Rogoz and Radu Dragomir about Mo

Time crystals. An interview with Nora Agapi, about Timebox

Confrontations. On Monsters, with Judith State and Cristian Popa

La Gomera – La Nouvelle Vague est morte, vive la Nouvelle Vague!

50 years from ”The Reenactment”