The cinephiliac moment is not grand or dramatic, nor carefully designed and choreographed to be memorable, but rather marginal or accidental, a moment that is remembered almost in spite of itself. A fleeting moment that triggers an affective, emotional intensity, which embodies each cinephile's obsessive relationship with cinema.
The latest entry in our collection of cinephiliac moments, courtesy of Adrian Martin.
On Leslie Cheung in Wong Kar-wai's Days of Being Wild (1990): "Cheung was born, to cinema, as a fugitive, forever fleeing the frame, merging with the dark, freezing and fading on a striking pose or a sudden, piercing glance."
Send us your own cinephiliac moment. Read all about our open call here.
Photogénie continues its series of Belgian moments, in which homegrown talents wax poetic about their cinematic epiphanies. Fien Troch takes the baton from Gust Van den Berghe and allows Photogénie and its readers a glimpse into her deepest cinephiliac thoughts.
A new addition to our database of cinephiliac moments: Steven Rybin on Katharine Hepburn in Cukor's A Bill of Divorcement (1932). Don't hesitate to send us your own cinephiliac moment. Read all about our open call here.
A personal report on the first half of Il Cinema Ritrovato, the film festival that gives film history the spotlight it rightly deserves, courtesy of our editor-in-chief.
Half way through Il Cinema Ritrovato, Tom Paulus reflects on the William Wellman retrospective and the Russian flavor in late twenties Hollywood.
Reporting live from Il Cinema Ritrovato 2014, Anke Brouwers on Alfred Machin's visual strategies and the stunning recreation of the original color scheme of Maudite soit la guerre.