INTERVIEWS

*Paul Schrader: Deliberate Boredom in the Church of Cinema. By Alex Ross Perry.

Community/Theatre: A Conversation with Stephen Cone. By Blake Williams.

*Whatever Happened to Lizzie Borden? By Christoph Huber.

Let Art Flourish, Let the World Perish: Morgan Fisher on Another Movie. By Jordan Cronk

FEATURES

*“You Never Heard of Code-Switching, Motherfucker?”: Joseph Kahn’s Bodied. By Steven Shaviro.

*The Changing View of Man in the Portrait: Errol Morris’ Wormwood. By Lawrence Garcia.

*Do It Again: On Ricky D’Ambrose’s Words and Images. By Phil Coldiron.

In Measured Praise of Kawase Naomi. By Michael Sicinski.

The Mistress of Suspense: Daphne du Maurier and Alfred Hitchcock’s Rebecca. By Alicia Fletcher.

Let England Shake: Mick Jackson’s Threads and the Imagination of Disaster. By Adam Nayman.

COLUMNS

*Editor’s Note: Top Ten of 2017

Film/Art

Yto Barrada. By Jesse Cumming.

Deaths of Cinema: Paul Clipson. By Max Goldberg

Festivals

Sundance. By Robert Koehler.

Berlin. By Adam Cook.

TV or Not TV

The Leftovers. By Kate Rennebohm.

DVD Bonus: Suzuki Seijun’s Taisho Trilogy. By Sean Rogers.

*Global Discoveries on DVD. By Jonathan Rosenbaum.

Canadiana

Robin Aubert’s Les affamés. By Lydia Ogwang.

*Exploded View: Bruce Conner’s Crossroads. By Chuck Stephens.

CURRENCY

*Visages villages. By Erika Balsom.

Ava. By Josh Cabrita.

*The Work. By Manuela Lazic.

High Fantasy. By Simran Hans.

A Fantastic Woman. By Angelo Muredda.

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From the Magazine

  • Issue 84 Table of Contents

    INTERVIEWS *The Act of Living: GianfrancThe Act of Living: Gianfranco Rosi on Notturnoo Rosi on Notturno By Mark Peranson*Reconstructing Violence: Nicolás Pereda on Fauna By More →

  • The Act of Living: Gianfranco Rosi on Notturno

    “The night scares me so much,” confesses a courageous Yazidi pre-teen girl to a therapist, remembering the period when she and her younger sister were captured by ISIS. Anyone who was seen crying would be killed, they were told; it turned out to be a vacant threat, but the sisters were still beaten, and now they are attempting to exorcise their memories by drawing pictures of them. Does it help? We never find out. More →

  • Reconstructing Violence: Nicolás Pereda on Fauna

    There’s a point in nearly every Nicolás Pereda film when the narrative is either reoriented or upended in some way. In the past this has occurred through bifurcations in story structure or via ruptures along a given film’s docufiction fault line. Pereda’s ninth feature, Fauna, extends this tradition, though its means of execution and conceptual ramifications represent something new for the 38-year-old Mexican-Canadian filmmaker. More →

  • I Lost It at the Movies: Charlie Kaufman’s Antkind and I’m Thinking of Ending Things

    “It’s all planned, but it isn’t thought out,” wrote Pauline Kael in her review of A Woman Under the Influence (1974), a nifty bit of critical jiu-jitsu turning John Cassavetes’ much-theorized—and, during Kael’s reign at The New Yorker, much-derided—technique of spontaneous improvisation within a dramatic framework against him. More →

  • Open Ticket: The Long, Strange Trip of Ulrike Ottinger

    One of the most surprising things about Ulrike Ottinger’s new documentary Paris Calligrammes is how accessible it is. Some cinephiles may be familiar with Ottinger based on an 11-year period of mostly fictional productions that were adjacent to the New German Cinema but, for various reasons, were never entirely subsumed within that rubric. Others are quite possibly more aware of her later work in documentary, in particular her commitment to a radical form of experimental ethnographic cinema. More →