‘Finally, in a mixture of horror and relish, my back arches, my shoulders hunch forward and my chest heaves as I retch once, twice, three times’: Laura Wilson ‘seek[s] to address that which is often avoided in audience and critical discourses, that is, how and why [The Human Centipede] and its bodily functions are upsetting.’

‘In the context of crime films featuring Italian-American gangsters the term “family” has become a synonym for “criminal gang”’ but ‘the Italian-American gangster’s relationship with family and gang has not been interpreted systematically as an indicator of the degree of this ethnic character’s assimilation into American society’: Silvia Dibeltulo analyses ‘key Hollywood films,’ ‘from the 1930s classic gangster cycle to contemporary cinema, with a focus on the intersection of family, gang and Italian ethnicity.’

Oscar A. Pérez proposes ‘a queer reading of three films that are representative of Nuevo Cine Mexicano: María Novaro’s Danzón (1991), Alfonso Cuarón’s Love in the Time of Hysteria (Sólo con tu pareja, 1991), and Guillermo del Toro’s Cronos (1993).

‘We were trying to show in a roundabout, metaphorical sense the murder of the youth in this country’: in a frank and free discussion scriptwriter Alex Radivojevic talks to Rajko Radovic about the perhaps most notorious film of the 21st century, A Serbian Film.

This and much more – including interviews with Godfrey Reggio and Tarkovsky specialist Nathan Dunne.

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