INTERVIEWS

Apt Pupil: Bi Gan on Long Day’s Journey Into Night
By Blake Williams

I Like America and America Likes Me: An Interview with Lars von Trier
By Mark Peranson

The Morals of Nature: Lee Chang-dong on Burning
By Jordan Cronk

FEATURES

Exchange Rate: The Silent Partner at 40
By Adam Nayman

Transgressions in the Dark Age: The Films of Kim Ki-young and Lee Hwa-si
By Kelley Dong

Towards an Anthropology of Colour: The Films of Sara Cwynar
By Phil Coldiron

Corrupted Affections: Bill Gunn in the Rear-View
By Steve Macfarlane

Last One Out of Germany: Ulrich Köhler’s In My Room
By Michael Sicinski

SPOTLIGHT

Cannes 2018: The Debussy Cramp
By Mark Peranson

Le livre d’image
By Andréa Picard

Shoplifters
By Mallory Andrews

BlacKkKlansman
By Richard Porton

Happy as Lazzaro
By Celluloid Liberation Front

Ash Is Purest White
By James Lattimer

Asako I & II
By Josh Cabrita

Dead Souls
By Jesse Cumming

Climax
By Lawrence Garcia

COLUMNS

Editor’s Note
By Mark Peranson

Deaths of Cinema: Pierre Rissient
By Scott Foundas

Deaths of Cinema: Michael Anderson
By Christoph Huber

DVD Bonus: Fritz Lang’s While the City Sleeps and Beyond a Reasonable Doubt
By Sean Rogers

Global Discoveries on DVD
By Jonathan Rosenbaum

Exploded View: Stanya Kahn and Harry Dodge’s Whacker
By Chuck Stephens

CURRENCY

Filmworker
By Robert Koehler

The Rider
By Chelsea Phillips-Carr

Drift
By Jay Kuehner

Shirkers
By Angelo Muredda

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From the Magazine

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    The prospect of spending an hour and a half with people lacking in notable virtue, alluring vice, or any apparent interest, may seem like an unproductive exercise in forced empathy—but consider this skepticism a function, as opposed to a fault, of these tightly orchestrated, seemingly soporific character studies. More →

  • For a Cinema of Bombardment

    Although there have always been intrepid critics and cinephiles who have engaged with films belonging to the non-narrative avant-garde, there has existed a perception that such films, operating as they do on somewhat different aesthetic precepts, could be considered a separate cinematic realm, one that even the most dutiful critic could engage with or not, as he or she saw fit. More →