Features

Philosophy in the Woods: Albert Serra’s Libertines by Phil Coldiron

Come on Feel the Noise: The Films of Andrés Duque by Leo Goldsmith

Truth and Method: The Films of Thomas Heise by Michael Sicinski

A Case for “Mere” Recording: Films by Ryan Ermacora and Jessica Johnson by Jaclyn Bruneau

Thinking in Images: Scott Walker and Cinema by Christoph Huber

The Meeting of Two Queens: Doris Wishman and Peggy Ahwesh by Elena Gorfinkel

The Good Fight: The Films of Julia Reichert by Bob Kotyk

Spotlight

Cannes 2019: Return to Form by Mark Peranson

Parasite by Adam Cook

Atlantique by Jesse Cumming

Bacurau by James Lattimer

It Must Be Heaven by Richard Porton

Mektoub, My Love: Intermezzo by Giovanni Marchini Camia

Jeanne by Blake Williams

Tommaso by Manuela Lazic

Killer Styles: The 51st Quinzaine des Réalisateurs by Jordan Cronk

J’ai perdu mon corps by Jason Anderson

Nuestras Madres by Ela Bittencourt

Columns

Editor’s Note by Mark Peranson

Deaths of Cinema: Agnès Varda, 1928–2019 by Jess Cotton

Film/Art: The 58th Venice Biennale by Erika Balsom

TV or Not TV: Succession by Brendan Boyle

Global Discoveries on DVD by Jonathan Rosenbaum

Exploded View: Flaubert Dreams of Travel But the Illness of His Mother Prevents It by Chuck Stephens

Currency

The Souvenir by Robert Koehler

The Hottest August by Adam Nayman

Diamantino by Angelo Muredda

Too Late to Die Young by Josh Cabrita

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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 →