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!
photogénie
Photogénie combines a sense of wonderment with keen analyses.
Photogénie Review
The Worst Person in the World — Young Critics Workshop
Luise Mörke on Joachim Trier's 'The Worst Person in the World'.
Photogénie Review
Inexorable — Young Critics Workshop
Nazeeh Alghazawneh on Fabrice du Welz's 'Inexorable'.
Photogénie Review
Wet Sand — Young Critics Workshop
Jack Seibert on Elene Naveriani's 'Wet Sand'.
Photogénie Review
Vortex — Young Critics Workshop
Hanne Schelstraete on Gaspar Noé's 'Vortex'.
Photogénie Review
Libertad — Young Critics Workshop
Jovana Gjorgjiovska on Clara Roquet's 'Libertad'.
Photogénie Review
What Do We See When We Look at the Sky? — Young Critics Workshop
Nazeeh Alghazawneh on Alexandre Koberidze's 'What Do We See When We Look at the Sky? '.
Anatomie van de film
Die Verlorene Ehre der Katharina Blum (1975)
Lennart Soberon over Volker Schlöndorff & Margarethe von Trotta's 'Die Verlorene Ehre der Katharina Blum' (1975).
Anatomie van de film
Closely Watched Trains (1966)
Tim Deschaumes over Jiří Menzels 'Closely Watched Trains' (1966).
Anatomie van de film
Soleil Ô (1967)
David Vanden Bossche over Med Hondo's 'Soleil Ô' (1967).
Anatomie van de film
In a Lonely Place (1950)
Anke Brouwers over Nicholas Ray's 'In a Lonely Place' (1950).