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!
Credo quia absurdum: on Terrence Malick’s ‘A Hidden Life’
Michaël Van Remoortere on grace and wonder as resistance in Terrence Malick's 'A Hidden Life'.
photogénie #2 — Cinema and/vs. Politics 5 Articles in issue
On the political role of cinema in its various phases of its interdependency with history at large.
5 Articles in issue
Editing of a Revolution: Representations of the December 1989 Romanian Revolution
Andra Petrescu examines documentaries on the Romanian Revolution made later than 1989, to identify their various functions.
Memories of a Revolution. How Iranian Cinema Was Shaped After the Islamic Revolution of 1979
Hossein Eidizadeh explores how Post-Islamic Revolution Iranian cinema meant the protective reinvention of a homogeneous national culture.
Neither For the Revolution Nor Against It? The Subtle Radicalism of ‘Memories of Underdevelopment’
Irina Trocan on the paradoxes of Cuban cinema in the 1960s.
Being Gay Is Not a Movie: ‘It Is Not the Homosexual Who Is Perverse, But the Society in Which He Lives’
Călin Boto analyses Rosa von Praunheim’s 'It Is Not the Homosexual Who Is Perverse, But the Society in Which He Lives'.
The Naked Kiss (1964)
David Vanden Bossche over 'The Naked Kiss' (1964).
De Apu-trilogie (1955-1959)
Jeanne Dielman, 23, quai du commerce, 1080 Bruxelles (1975)
The Ascent (1977)
Tim Deschaumes over Larisa Shepitko's 'The Ascent' (1977).