INTERVIEWS AND FEATURES

The Land of the Unknown: Roberto Minervini on What You Gonna Do When the World’s on Fire? by Jordan Cronk

“Poetry floats up in my memory like sailboats in the fog”: Alexei German’s Khrustalyov, My Car! by Daniel Witkin

With Forever Presence: Jonathan Schwartz (1973-2018) by Max Goldberg

Soft and Hard: Claire Denis on High Life by Adam Nayman

Encore: Dora García’s Segunda vez by Michael Sicinski

Learning to Live Together: Three Films by Beatrice Gibson by Phil Coldiron

Woman with a Whip: The Transgressive Westerns of Barbara Stanwyck by Alicia Fletcher

Ghost Operas: Music from the Films of Bertrand Bonello by Sean Rogers

SPOTLIGHT: FALL FESTIVAL HIGHLIGHTS

Belmonte by Darren Hughes

Edge of the Knife by Jesse Cumming

I Remember the Crows by James Lattimer

A Land Imagined by Lawrence Garcia

Manta Ray by Jennifer Lynde Barker

Nervous Translation by Erika Balsom

Our Time by Blake Williams

Rojo by Jay Kuehner

COLUMNS

Editor’s Note

Deaths of Cinema: Burt Reynolds by Christoph Huber

Film/Art: Richard Billingham’s RAY & LIZ and Yervant Gianikian & Angela Ricci Lucchi’s I diari di Angela—Noi due cineasti by Andréa Picard

Canadiana: Highlights from the Year in Canadian Shorts by Josh Cabrita

TV or Not TV: A Tale of Two Handmaids by Jerry White

Global Discoveries on DVD by Jonathan Rosenbaum

Exploded View: Ken Jacobs’ Nervous Magic Lantern by Chuck Stephens

WEB ONLY

Festivals: Doclisboa 2018 by Christopher Small

Festivals: RIDM 2019 by Justine Smith

CURRENCY

Roma by Robert Koehler

A Star Is Born by Mallory Andrews

The Favourite by Courtney Duckworth

Green Book by Angelo Muredda

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From the Magazine

  • Issue 87: Table of contents

    Alexandre Koberidze, Dasha Nekrasova,Radu Jude, Amalia Ulman, Monte Hellman, TV or not TV, Eberhard and Phyllis Kronhausen, Azor, New Order, Siberia More →

  • Remembering Women: Claudia von Alemann’s Blind Spot

    Cherchez la femme, they say. It sounds nice, but what this expression actually means is that woman is the root of all (male) problems, always to blame. Claudia von Alemann’s extraordinary Blind Spot (Die Reise nach Lyon, 1980), recently restored by the Deutsche Kinemathek in cooperation with the Institut Lumière, is a rare film that puts the pursuit of a woman at its heart—not so that she can be punished, not so that a man’s troubles can be explained, but so that her achievements might be rescued from oblivion and might, in the process, change another woman’s life. More →

  • Common Sense Connoisseur: The Critical Legacy of Bertrand Tavernier

    The two most cherished film books in the pile on my bedside table are in a language my command of which is rudimentary at best. But since both Jacques Lourcelles’ Dictionnaire du Cinéma – Les Films as well as Jean-Pierre Coursodon and Bertrand Tavernier’s 50 ans de cinéma américain have never been translated from French into either English or German, I gladly make do, filling the gaps with a mixture of autodidactic guesswork and occasional dictionary consultation, which for all its drawbacks has proved to be a viable method. More →

  • “I prefer, where truth is important, to write fiction:” On Radu Jude

    In the name of the popular, delighting in reduction and obviousness, a boring assertion: the common ground of every film movement christened a “new wave” over the last 70 years has tended toward revision, a self-conscious desire to provide a true image of the people in opposition to the distorted picture given by whatever relevant iterations of official culture. The banality of this claim can be measured by the volume of cant and platitude produced in support of it, often by the artists themselves. There is, I hope, little need to rehearse these arguments regarding realism, myth, and so on. Who today can help but squirm when faced with the phrase “true image of the people?” More →

  • Siberia (Abel Ferrara, Italy/Germany/Mexico/Greece/UK)

    Abel Ferrara is a changed man. While the evidence suggests that this is very good news for Ferrara himself and his immediate family, it could result in a minor schism in the manner in which his films are received. For most of his career Ferrara has been the subject of a Romantic cult that glorified his legendarily self-destructive behaviour, and often read this (literal) lawlessness as an integral part of his renegade creative vision. More →