Christian Petzold’s Phoenix, Andrei Konchalovsky’s The Postman’s White Nights, Peter Strickland on The Duke of Burgundy and more... More →
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From the Magazine
Issue 61 Table of Contents
Issue 61 Editor’s Note
By Mark Peranson It’s taken an abnormally long while for me to find the will to pound out the missive this time around, due to More →
Film/Art | Carlos Amorales, Roberto Bolaño, and Amorality Within the Avant-Garde
By Andréa Picard “We dreamed of utopia and we woke up screaming.”—Roberto Bolaño, First Infrarealist Manifesto Last year, Vogue Paris published an issue devoted More →
Global Discoveries on DVD | Conspicuously Absent or Apt to be Overlooked
By Jonathan Rosenbaum For now the truly shocking thing was the world itself. It was a new world, and he’d just discovered it, just noticed More →
Exploded View | The George Kuchar Reader
By Chuck Stephens “I make moving pictures… My dad smoked and didn’t like the movie Ben-Hur because it was lacking in simulated humping sequences. My More →
The Babadook (Jennifer Kent, US)
By Adam Nayman A semi-surprise winner of the New York Film Critics Circle’s Best First Film award, Jennifer Kent’s Sundance breakout The Babadook feels very More →
Force Majeure (Ruben Östlund, Sweden/France/Denmark/Norway)
By Angelo Muredda With all respect to David Fincher’s Gone Girl, Ruben Östlund’s Force Majeure is the best formalist black comedy about marriage since Eyes More →
Inherent Vice (Paul Thomas Anderson, US)
By Blake Williams First we see the ocean—again. Before introducing us to the hazy, neon-stroked nocturne with which Pynchon chose to open his “lite” novel, More →
Letters to Max (Eric Baudelaire, France)
By Leo Goldsmith “I am writing you this letter from a distant land,” begins Chris Marker’s epistolary essay film-cum-travelogue Letter from Siberia (1957), establishing—from this More →
Episode of the Sea (Van Brummelen & De Haan and the inhabitants of Urk, Netherlands)
By Daniel Kasman One of the most original films at the Toronto International Film Festival, Lonnie van Brummelen and Siebren de Hann’s ethnographic documentary Episode More →
The Iron Ministry (J.P. Sniadecki, US/China)
By Jordan Cronk Issues of transit, dispersion, and the commercial and cultural tides precipitating each successive wave of Chinese migration have preoccupied filmmakers for decades. More →
Heaven Knows What
By Sean Rogers The opening sequence of Nicholas Ray’s They Live by Night (1948) depicts the warmly lit faces of soon-to-be lovers Bowie (Farley Granger) More →
Clouds of Sils Maria (Olivier Assayas, France/US)
By Andrew Tracy “Ingmar Bergman once said that he makes a film with full consciousness that it will be shown on a screen that showed More →
A Pigeon Sat on a Branch Reflecting on Existence (Roy Andersson, Sweden)
By Jason Anderson Filmmakers have a variety of reasons for enlisting non-professionals for their casts, but often what they seek is a rude, unvarnished vitality More →
- Issue 61 Table of Contents
- Jenny Moir Find Me Guilty: Joshua Oppenheimer’s The Act of Killing Saw The Act of Killing last night, here in Chelmsford, England. Am still reeling from it. I was...
- Jim S. “No One Can Survive In That Water”: Jane Campion and Garth Davis’ Top of the Lake Your review is challenging and thoughtful, but it fails in one very significant respect. Campion...
- Lynn The Talented Mr. Allen: Woody Allen's Blue Jasmine Amen...match point was great
- Jesse F Global Discoveries on DVD | Monuments, Documents, and Diversions There's also an adequate English .srt file for Spectre floating around on the net that can be man...
- Rita Azevedo Gomes A Truck Full of Turkeys: Thoughts on Joaquim Pinto’s What Now? Remind Me Both (Joaquim and Nuno) put it in two straight words: What Now? then added two more: remember m...
- Robin E. Simmons This Is Martin Bonner (Chad Hartigan, US) A wonderful review of a singularly terrific film. Subtle and sly, it penetrates the heart where ...
- Luis Miguel Cintra A Truck Full of Turkeys: Thoughts on Joaquim Pinto’s What Now? Remind Me God bless you, Francisco Ferreira, for your paper on Joaquim's film! Yes, I also think it is a ve...
- Larry Gross The Beauty of Horror and the Horror of Beauty: An Encounter with Albert Serra ." I said that my films are unfuckable in the context of film criticism, in that you have to take...