Cinephilia & Beyond

10 stories

Cinephilia & BeyondCinemaPlay for Play: 40 Years Later, How The Color of Money’s ‘One For Them’ Assignment Reignited Martin Scorsese’s Hunger for the Work By Tim Pelan After ‘The Last Temptation‘ was cancelled in ’83, I had to get myself back in

10.08

Cinephilia & BeyondCinemaLimitation of Life: You Can’t Go Back in John Frankenheimer’s ‘Seconds’—Revisiting a Masterpiece on Its 60th Anniversary By Tim Pelan Who we are depends on a multitude of influences, societal and blood-borne. Mankind is the

10.02

Cinephilia & BeyondCinema‘The Fisher King’ at 35: Terry Gilliam’s Touching Film About Grief, Trauma and Hope By Koraljka Suton I started reading and I stayed up till—I don’t know what time in the morning

09.27

Cinephilia & BeyondCinemaTake It to the Limit One More Time: Michael Mann’s ‘Miami Vice’ at 20 By Tim Pelan Michael Mann’s 2006 big screen revamp of 1980s groundbreaking TV show Miami Vice (Brandon

07.28

Cinephilia & BeyondCinema‘Midnight Run’ at 38: Martin Brest’s Cult-Action Comedy that Just Doesn’t Seem to Get Old By Sven Mikulec When filmmaker Martin Brest developed a script for a buddy action comedy called Midnight

07.20

Cinephilia & BeyondCinema‘Escape from New York’ at 45: John Carpenter’s Thrilling, Pumped-Up Ride through the Streets of a Dystopian New York City By Sven Mikulec In the post-Watergate period of America struggling with insecurity, distrust and national embarrassment, USC-educated filmmaker

07.10

Cinephilia & BeyondCinemaNew Model Arnie: How James Cameron’s ‘Terminator 2: Judgment Day’ Held True to Its Exploitation Roots Whilst Remodelling the Action Blockbuster Template Terminator 2: Judgment Day poster art by Tony Stella, https://www.tony-stella.com/ By Tim Pelan I’m not playing it safe

07.03

Cinephilia & BeyondCinemaHow Robert Altman’s Anti-Western Classic ‘McCabe & Mrs. Miller’ Aged Like Fine Wine By Koraljka Suton The legendary director Robert Altman was given an Academy Honorary Award in 2006, “in recognition of

06.24

Cinephilia & BeyondCinema“It Ain’t Like It Used to Be. But It’ll Do:” How Sam Peckinpah’s ‘The Wild Bunch’ Became Both a Eulogy for a Mythic Past and a Template for a New Kind of Action The Wild Bunch poster art by Tony Stella By Tim Pelan We wanted to show violence in real

06.19

Cinephilia & BeyondCinema‘The Parallax View’ at 52: Pakula’s Unsettling Examination of the Post-Compliant America The Parallax View poster art by Callum Mullin By Sven Mikulec The seventies were a unique period in

06.19

The small bracket on top of every camera, from a phone rig to an ARRI.

The hot shoe is where the flash goes, and the microphone, and the monitor, and whatever the next decade bolts on. Every camera has one and nobody photographs it. This magazine is named after it because that is where the whole business meets: the body, the glass, the light, the sound, and the person holding it.

I shot news in Gothenburg for nine years and documentary for hire after that, then stopped taking assignments to write about the tools. Since 2021 I live in Tokyo, ten minutes from the used-camera shops of Shinjuku, which is not an accident: Canon, Nikon, Sony, Fujifilm, Panasonic, Ricoh and Sigma make almost everything worth pointing at a subject, and their own press writes about it first, in Japanese. So this magazine reads it there, and in German, French, Italian and Spanish, and in English from the reviewers who actually put a card in the slot — around eighty sources and thirty channels, counted and plotted so you can see what is moving.

Bodies and lenses, cinema cameras and drones, film and the darkroom, firmware and the software that finishes the picture, the rumours before the launch and the reviews after it, and the photographers and shows the rest of it is for. I test what I write about on a job before a word goes down. I shoot film on Sundays and do not think that makes me interesting.

A story here is a headline, a short excerpt, one picture and the link to whoever reported it. We never reprint the article, and the picture belongs to the photographer or the maker. A story written in Japanese appears in Japanese, as its author set it down; the link goes to the original.

— Mara Lindqvist, Tokyo