Christian Petzold’s Phoenix, Andrei Konchalovsky’s The Postman’s White Nights, Peter Strickland on The Duke of Burgundy and more... More →
From the Magazine
Issue 63 Table of Contents
Implications of a Totality: Frames for the Films of Joseph Bernard
By Phil Coldiron In the decade spanning 1975 to 1985, visual artist Joseph Bernard completed more than 100 films in Super 8mm. Frustrated by a More →
Cock and Bull Stories: Miguel Gomes on Arabian Nights
By Mark Peranson Cinema Scope: Miguel Gomes, you need no introduction to the readers of this magazine. Here you are back in Cannes with a More →
The Assassin (Hou Hsiao-hsien, Taiwan)
By Jordan Cronk The sounds of silence reverberate loudest in The Assassin, Taiwanese master Hou Hsiao-hsien’s first feature in eight years. The film’s opening image, More →
Son of Saul (László Nemes, Hungary)
By Richard Porton Dennis Lim’s Artforum dispatch from Cannes pauses briefly to ponder the merits of László Nemes’ Son of Saul and concludes that, either More →
Cemetery of Splendour (Apichatpong Weerasethakul, UK/France/Germany/Malaysia/Thailand)
By Kong Rithdee Midway into Cemetery of Splendour, Jenjira Pongpas visits the Shrine of the Two Goddesses with her American husband to make offerings: she More →
In Dreams Begin Responsibilities: The Films of Patricio Guzmán
By Max Nelson At one point in his new film The Pearl Button, Patricio Guzmán visits a friend’s painting studio and asks the artist to More →
Sleeping Giant (Andrew Cividino, Canada)
By Jason Anderson Almost 90 per cent of Canada is uninhabitable. Of those who live in the rest, the overwhelming majority live within 500 miles More →
Joyce Wieland: Word of Mouth
By Samuel La France On the closing night of this year’s Images Festival, sisters Velvet and Lady Nite (collectively, 10,000 Horses) took the stage at More →
Global Discoveries on DVD | Then and Now, Hither and Yon
By Jonathan Rosenbaum Saddled with its stupidly inappropriate and misleading reissue title Betrayed, William Castle’s justly celebrated Z-budget 1944 thriller When Strangers Marry—shot in seven More →
Exploded View | Gregory Markopoulos
By Chuck Stephens One of the most extraordinary American experimental filmmakers of the 20th century, Gregory Markopoulos (1928-1992) also remains one of its most More →
Cannes 2015: My God, It’s Full of Stars!
By Mark Peranson Well, at least the weather was good. Every year another leak threatens to spring in the dam, but the Festival de Cannes More →
Italians Abroad: Youth, Mia Madre, Tale of Tales, The Other Side
By Celluloid Liberation Front “To support Italian cinema is a crime against humanity.”—Franco Maresco Even more provincial and mediocre than the three Italian films in More →
Issue 63 Editor’s Note
Let me begin with a series of overdue apologies, because film critics never apologize, and we all know they make mistakes on a regular basis. More →
- Issue 63 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...