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!
Deadline: In a Lonely Place
Cristina Álvarez López and Adrian Martin on how trust and distrust are given shape in time and space in Nicholas Ray's 'In a Lonely Place'.
photogénie #8 — The Soul’s Interior, The Divine Hand 5 Articles in issue
The search for a Rosetta Stone to further the necessary reinterpretations of acting and directing.
5 Articles in issue
The English Voice in Personal Documentary
Ben Flanagan’s interrogates the male English voice in documentary, where directors adopt an ostensible command of truth and depiction.
Embodying Discontent: Performance as Political Barometer in Glauber Rocha’s Antonio das Mortes Saga
Alonso Aguilar examines the jump made by Glauber Rocha and Maurício do Valle, from 'Black God, White Devil' to 'Antonio das Mortes'.
Acting in Absentia: Werner Schroeter and Maria Callas
Kathy Vanhout analyzes the manifestation of the image and voice of singer and actress Maria Callas in Werner Schroeter’s filmography.
Fantasy Sentences: La Vie de famille and the Cinema of Jacques Doillon
Lawrence Garcia looks at how Jacques Doillon invites viewers into his filmic fantasy via the subtly variegated gestures of the performers.
In a Lonely Place (1950)
Anke Brouwers over Nicholas Ray's 'In a Lonely Place' (1950).
De man die zijn haar kort liet knippen (1965)
Gertjan Willems over André Delvaux' 'De man die zijn haar kort liet knippen' (1965).
La última cena (1976)
David Vanden Bossche over Tomás Gutiérrez Alea's 'La última cena' (1976).
The Man with the Golden Arm (1955)
David Vanden Bossche over Otto Premingers 'The Man with the Golden Arm' (1955).