Interviews

Anything Is Possible: Josh and Benny Safdie on Uncut Gems by Adam Nayman

A Concept of Reality: Sergei Loznitsa’s State Funeral by Daniel Kasman

Fairytales and Freudian Females: A Conversation with Jessica Hausner by Jordan Cronk

Features

They Are All Equal Now: The Irishman’s Epic of Sadness by Robert Koehler

I Shall Be Released: Amazing Grace and Rolling Thunder Revue by Christoph Huber

Far from Paradise: Nina Menkes’ Queen of Diamonds by Erika Balsom

Garden Against the Machine: Ja’Tovia Gary’s The Giverny Document by Michael Sicinski

Training to Failure: Lisa Steele’s Very Personal Stories by Cayley James

Works and Days: The Incomplete SOLARIUMAGELANI by Phil Coldiron

Spotlight

Collective by Jay Kuehner

Mafia Is No Longer What It Used to Be by Celluloid Liberation Front

Ne croyez surtout pas que je hurle by James Lattimer

The Painted Bird by Tom Charity

The Twentieth Century by Josh Cabrita

A Voluntary Year by Lawrence Garcia

White Lie by Madeleine Wall

Columns

Editor’s Note

Deaths of Cinema: Luis Ospina, 1949-2019 by Steve Macfarlane

Film/Art

Silence Is Falling: The Experimental Films of Marinella Pirelli by Jesse Cumming

Books

Où est le cinéma? On Sontag: Her Life and Work by Jerry White

Global Discoveries on DVD by Jonathan Rosenbaum

Exploded View

Peter Emanuel Goldman’s Pestilent City by Chuck Stephens

Currency

Jojo Rabbit by Angelo Muredda 

Ad Astra by Mallory Andrews

In Fabric by Jason Anderson

Mister America by Brendan Boyle

Portrait de la jeune fille en feu by Chloe Lizotte

Web Extra

Invisible Life by Katherine Connell

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From the Magazine

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    When navigating the as-yet-unknown films of a festival program, nationality still provides a persuasive point of reference for some, a feeling underlined by the proud declarations issued by national funding organizations, promotional bodies, or particularly partisan members of the press once titles have been announced. This year’s reduced Berlinale Forum lineup also invites tenuous lines of this kind to be drawn (two films from Argentina, two films from Canada!), although the three Franco-German co-productions shot elsewhere say far more about how films are made in 2021. More →