Interviews 

No God But the Unknown Pietro Marcello and Maurizio Braucci on Martin Eden by Jordan Cronk

I See a Darkness: Pedro Costa on Vitalina Varela by Haden Guest and Mark Peranson

Naked in Paris: Nadav Lapid on Synonyms by Robert Koehler

Features

Natural Wonders: The Films of Jessica Sarah Rinland by Darren Hughes

Woman on the Verge of a Nervous Breakdown: Kazik Radwanski’s Anne at 13,000 ft by Josh Cabrita

The Taste of Summer: The Film Farm at 25 by Cayley James

For a Cinema of Bombardment by Michael Sicinski

Together We’re Willing to Take Any Risk: The Films of Han Ok-hee and Kaidu Club by Jesse Cumming

Land and Sea: Ogawa Shinsuke and Tsuchimoto Noriaki by Christopher Small

Occupational Hazard: On Earth and Other Recent Films by Nikolaus Geyrhalter by Jay Kuehner

Columns

Editor’s Note by Mark Peranson

Festivals

Locarno by James Lattimer

Books

J. Hoberman’s Make My Day: Movie Culture in the Age of Reagan by Adam Nayman

Chantal Akerman’s My Mother Laughs by Phoebe Chen

TV or Not TV

Too Old to Die Young by Christoph Huber

Global Discoveries on DVD by Jonathan Rosenbaum

Exploded View: Peter Fonda’s Idaho Transfer by Chuck Stephens

Currency

Fire Will Come by Azadeh Jafari


No Data Plan by Erika Balsom

The Traitor by Celluloid Liberation Front

Light From Light by Lawrence Garcia

Midsommar by Angelo Muredda

Web Only

The Films of Zachary Epcar by Phil Coldiron

Deaths of Cinema: D.A. Pennebaker by Jerry White

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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 →