Offscreen @Offscreen2
Offscreen is the longest running online monthly film journal, active since 1997. We write about engaged, personal, challenging film. Film Matters. offscreen.com Joined August 2013-
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Peter Rist offers his thoughts on the lack of real diversity when it comes to voting critics in the Sight & Sound 2022 Decennial Best Films Poll.
offscreen.com/notes/view/fil… Daniel Garrett looks ahead to some major film festivals of 2023, and the importance of film festival culture.
offscreen.com/notes/view/mic… Canada's greatest artist of the 20th century Michael Snow, passes away at age 94.
New double issue looking at some key black filmmakers since the 1970s. offscreen.com/issues/view/vo…
offscreen.com/view/cicely-ty…. Daniel Garrett's appreciation of African American women performers.
offscreen.com/view/dr-orloff… One can never really get enough of Jesus Franco, so Doug Buck obliges with another film loosely aligned in his all things Mabuse, Dr. Orloff’s Monster (aka, The Mistresses of Dr. Jekyll) (Jess Franck, aka, Jesús Franco, 1964)
offscreen.com/view/itas-a-wo… Doug Buck wishes us all a Merry Christmas in his own way, with a review of a holiday classic.
offscreen.com/view/the-venge… Buck returns once again to the spy-espionage-James Bondish-Sci-fi world of Dr. Mabuse, from Jesús Franco, The Vengeance of Dr. Mabuse.
Doug Buck continues on the dusty outback roads of Aussie land's post-apocalyptic hero Mad Max, with Mad Max Beyond Thunderdome (George Miller & George Ogilvie, 1985). offscreen.com/view/mad-max-b…
Just in time for Fantasia 2020, Offscreen presents its big all-Fantasia issue: offscreen.com/issues/view/vo…
offscreen.com/view/fantasia-… Only 11 days to go. Frédéric St-Hilaire gives us a tease of what to expect at the 2020 Fantasia Festival.
New extract of the week on Zoom Out, on Down by Law. zoom-out.ca/view/lextrait-…
zoom-out.ca/view/lextrait-… New Extract of the Week on our affiliate website Zoom Out, Adrian Martin's pick of Meet Me in St. Louis..
zoom-out.ca/view/the-comic… Wonderful new video essay by Ryan Barnett on the parallels between Dziga Vertov's The Man With a Movie Camera and Buster Keaton's The Camerman.

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