CINEA highlights film heritage in all its intriguing facets and all its incarnations from the late nineteenth century until today, always from a film-historical and aesthetic standpoint: filmmakers have thousands of secrets, CINEA lets you in on them!
You Shall See Nothing but the Splinters of Time: The Restored Films of Michel Khleifi
Carlos Kong on Michel Khleifi's lyrical portrayals of Palestinian life under military occupation.
Countering the Exotic: The Occupation of Space in ‘Öndög’
Nina Cools on the relationship between landscape and the human and non-human figures that occupy it in Wang Quan’an’s 'Öndög'.
photogénie #3 — Islands of Pain 5 Articles in issue
On the cinematographic representation of growing up in a world you were thrown into without a choice.
5 Articles in issue
Reclaiming Womanhood – On Lynne Sachs’ ‘The House of Science’
Tijana Perović on Lynne Sachs' analysis of the way women have learnt to see their bodies through the clinical, male gaze.
Growing Away from Home, into the Unknown — Three Short Films by Markopoulos, Brakhage and Straub-Huillet
Maximilien Luc Proctor looks at growing pains in a formalist way, examining three short to medium length films by accomplished directors.
‘Conte Immoral’ — The Fairy Tale and the Transition from Childhood to Adolescence in Catherine Breillat’s ‘Bluebeard’
Ruairí McCann on Catherine Breillat's revisionist interpretation of the fairy tale classic.
The Man with the Golden Arm (1955)
David Vanden Bossche over Otto Premingers 'The Man with the Golden Arm' (1955).
Les Quatre Cents Coups (1959)
Wouter Hessels over François Truffauts 'Les Quatre Cents Coups'.
The Naked Kiss (1964)
David Vanden Bossche over 'The Naked Kiss' (1964).
De Apu-trilogie (1955-1959)
Anke Brouwers over de Satyajit Ray's Apu-trilogie.