a palette of arts & cultures
a window to world cinema
began with the kinesthetic sensation of viewing moving pictures. “Kino” then
became the place to find films, the hall that houses the screen and its
audience. Today in cultures far from
“caviar” Delicacies of substance and form, the eggs of life.
Cinema can stimulate the senses, stir the mind, and feed the soul. With a hand-picked harvest of cinema at its best, KINOCaviar completes the menu with complementary faire that fuels the “seventh art.”
KINOCaviar offers in-the-moment thought for savoring the finest of world cinema. Come to the table of today’s kino-feast and see how its makers thrive on the arts that surround them. Explore the exchange of visions and voices that feeds the world’s kino-culture.
In fact there may be as many “kinos” as “caviars,” and each opens a window to the world, through which we all peer at each other. KINOCaviar brings distant cultures face-to-face through the arts that we come to share.
On the Screen (reviews and feature stories on current cinema)
Behind the Scenes (interviews and profiles)
Close-Up on Festivals (film reviews and reportage)
Kino-Arts in Focus (discussions of adjacent arts:
photography, literature, painting, theatre,
music, sculpture, dance, architecture)
Digital Releases (reviews of DVDs and Internet media)
The Top Shelf (reflections on classics of world cinema)
Between the Covers (book reviews regarding cinema and the arts)
Diane Sippl has written and published over 150 researched articles, interviews, and reviews as a critic of contemporary world arts for academic journals such as CineAction, Senses of Cinema, Discourse, and Frontiers as well as for scholarly and trade publications such as Cineaste and FilmMaker and several anthologies of film criticism. She has served as Arts and Culture Editor for both local and international newspapers and magazines.
All written content on this site, www.kinocaviar.com, is solely and
exclusively authored and owned by Diane Sippl, PhD. © 2008, 2009, 2010, 2011, 2012, 2013, 2014, 2015, 2016, 2017. Reproduction without the permission of this author is prohibited.