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 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 →