André Bazin once quipped: " When a savage headhunter is shown in the foreground watching for the arrival of the whites, this necessarily implies that this person is not a savage because he has not cut the cameraman's head off " (qted. in Daney 37). Here he points to the precise spot or the decisive moment at which the screen of fiction that divides the filmmaker from the material reality of wha...

One of the most intriguing elements of Mohamed Soueid's film My Heart Beats Only For Her (2008) is the ambiguous narrative that lies somewhere between fiction and documentary. In this film a man named Hassan tries to retrace the steps of his father Hatem Hatem, a Lebanese revolutionary in the 1970s, on a journey from Beirut to Hanoi to Dubai. Soueid combines and interrelates these two seemingly...

Autofiction as realized in cinematic practice adds a figure of identification to the literary author-narrator-character: that actor/actress. The filmmaker, playing him/herself, employs innovative strategies audiovisual narration generate this autofictional identity. This article analyses these seen French cinema, on which autofiction has determining influence. My analysis is mapped along double...

1. Bing-Yen Ti, also known by the name Desmond, is an emerging filmmaker from Malaysia who has studied film production and directed short films in his home country and China. To date almost half of his repertoire focuses on young same-sex attracted individuals and these filmic offerings have been distributed through YouTube and local Chinese (queer) social media. While mainly set in Malaysia, h...

Filmmaker Michelle Memran became interested in therapeutic filmmaking after spending much of her twenties making a collaborative documentary with the visionary Cuban American playwright María Irene Fornés, who wrote more than three dozen plays and was recipient numerous prestigious grants awards (https://fornesinstitute.com/about/biography). The documentary, entitled Rest I Make Up (2018), chro...

At the 2018 San Sebastian Festival winning film was Entre dos aguas (Isaki Lacuesta, 2018). The Catalan filmmaker constructs a fiction that, however, is also very much self-referential and biographical therefore journalistic (all actors are amateurs who play themselves in film), uses good part of certain documentary visual aesthetic. These actors, turn, had already been protagonists for 12 year...