Interviews and Features

*Audrey II: Sofia Bohdanowicz and Deragh Campbell’s MS Slavic 7; By Adam Nayman

*The Exorcist: Barbara Loden and Wanda. By Courtney Duckworth. 

Presence and Poetry: Margaret Tait at 100. By Cayley James.

*To Thine Own Self Be True: Angela Schanelec on I Was at Home, But… By Giovanni Marchini Camia. 

Cruel Stories of Youth: Obayashi Nobuhiko’s Hanagatami. By Lawrence Garcia.

*You Can’t Own an Idea: The Films of James N. Kienitz Wilkins. By Dan Sullivan.

Art Like Bread: The Films of Patrick Wang. By Michael Sicinski.

*Screenlife’s What You Make It: Thoughts on Searching, Profile, Unfriended: Dark Web, and Cam. By Jason Anderson.

Between Light and Nowhere: On the Video Art of Rainer Kohlberger. By Blake Williams.

Columns

*Editor’s Note

*Film/Art – Andy Warhol’s Empire, By Phil Coldiron

Deaths of Cinema – Ringo Lam. By Christoph Huber.

*Deaths of Cinema – Jocelyne Saab. By Celluloid Liberation Front

*Festivals

Sundance. By Robert Koehler.

Berlin. By Jordan Cronk.

Self-determined. Perspectives on Women Filmmakers. By Clara Miranda Scherffig.

Rotterdam: Zhu Shengze’s Present.Perfect. By Jesse Cumming.

DVD Bonus

Pioneers: First Women Filmmakers. By Alicia Fletcher

*Global Discoveries on DVD. By Jonathan Rosenbaum. 

*Exploded View – Makino Takashi’s Ghost of OT301. By Chuck Stephens. 

Currency

*Répertoire des villes disparues. By Josh Cabrita.

Anthropocene: The Human Epoch. By Angelo Muredda.

Happy New Year, Colin Burstead. By Adam Cook.

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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 →