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I’m a frequent contributor to Rouge, so I hope nobody thinks I’m tooting my own horn if I come right out and say that I regard it as the best film magazine going that’s exclusively online. It’s been around since 2002, and it happens to be based in Australia, but you might not even notice this if you were scanning the table of contents of any issue, because it’s far and away the most international of film magazines in English. The latest issue, number ten, has contributors from Australia, Brazil, France, Hungary, Japan, Portugal, Russia, and the U.S., including some filmmakers (Pedro Costa and Mark Rappaport) as well as critics writing about films from most of those countries plus England, India, and Bosnia. About half of the 16 contributors are writing in English, about a third are translated from French, Japanese, or Portuguese, and a couple more express themselves exclusively in the form of a photograph or film frames. In fact, one of the most fascinating of Rouge’s former issues, number five (2004), devoted itself exclusively to images selected by 52 contributors.
