“The greatest films, I have always believed, are empathy machines. They allow us to see the world through eyes that are not our own.” A beautiful love letter to cinema by Amir Zadnemat
The Flickering Ghost: What Remains When the Projector Goes Dark?
The Smoking Fish (El pez que fuma, 1977)
“Frequently claimed by critics as the best Venezuelan film ever made, El pez que fuma, (1977) was produced in the midst of the Oil Boom era and has since become a potent metaphor for the decadence at the height of Venezuela’s economic splendor.”
January Issue, 2026
A collection of all the articles we’ve published over the past month, for those who like to savor their Magpies’ tidings as an issue.
Pipeline in My Pocket. The Waiting Game is Over
“On a more personal level, the work is also about dignity. About whose inner life is considered worth depicting and whose is treated as background noise. If that unsettles viewers or makes them feel implicated rather than reassured, that’s intentional.”
December Issue, 2025
A collection of all the articles we’ve published over the past month, for those who like to savor their Magpies’ tidings as an issue.
The Brown Bag of Miscellany’: Zora Neale Hurston and the Practice of Overexposure
A beautiful and thought-provoking essay on the films of Zora Neale Hurston, by Autumn Womack.
November Issue, 2025
A collection of all the articles we’ve published over the past month, for those who like to savor their Magpies’ tidings as an issue.
The Man and The Crowd (1928) Photography, Film, and Fate
Gideon Leek rewatches King Vidor’s classic, in which a young man with big dreams moves to New York City and becomes an identical cog who learns to love the machine of modernity.
October Issue, 2025
A collection of all the articles we’ve published over the past month, for those who like to savor their Magpies’ tidings as an issue.
Sara Gómez: Her Contribution
“We are alone facing our historical consciousness — that makes us fully responsible, and so the reason for alienation has disappeared. Our work is creative, we live to create — to create something that will exist beyond time, beyond any possible existential anguish, like art. Is that clear?” Thoughts on the work of Cuban filmmaker Sara Gómez.
magpiesmagazine.com 