Cineforum is the cinema magazine of the Italian Cineforum Federation. A magazine that comes from far away and that represents the purest and most traditional form of film criticism magazine. In fact, it contains presentations, reviews, controversies and discussions on dozens of more or less recent films, analysis of film trends and authorial trends in this sector.
It is a magazine for real cinephiles, founded in 1961. Until 2020 it comes out monthly, up to the radical number 0 of 2021, the year from which it becomes a quarterly that changes its graphic and editorial aspect and decides to leave more mainstream circuits to become a niche paper reference for true enthusiasts.
The Italian Cineforum Federation represents most of the Italian film clubs and in particular collaborates with medium-small and local realities in order to make known the masterpieces of great authors, but also to give visibility and release film projects that otherwise would have little visibility. From the vision of the films, it then organizes cineforums, conferences and debates that create and bring to life the culture of cinema in Italy.
The Director of the new series of Cineforum magazine is Emanuela Martini, born in Forlì and film critic, until 2019 Director of the Torino Film Festival.
The second issue of Cineforum sketches a first journey through women's trajectories in the cinema of the 20th century, starting from those decades in which women began to think seriously about themselves, their role, their potential, their needs, decided to look inside, even from the outside, through mirrors or other people's eyes. Or, those of the younger decades who, almost by instinct, adopted miniskirts, trousers, pills, spirals, existentialist attires, took anomalous paths. And they crossed their legs.
The directors told everything, almost always men, even if the writers (of original novels and screenwriters) were often women.
This issue of Cineforum is squeezed between avenging Kate Winslet who sets fire not only to her house but to the whole town she comes from (The Dressmaker), Katia Paskariu who goes through indomitable sex and the garbage of a commodified Bucharest (Unfortunate sex or madness porno), Audrey Hepburn who smokes like a Turk (Breakfast at Tiffany's) and many other ladies who, like the forerunner Marlene Dietrich, cross their legs.