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

  • Issue 87: Table of contents

    Alexandre Koberidze, Dasha Nekrasova,Radu Jude, Amalia Ulman, Monte Hellman, TV or not TV, Eberhard and Phyllis Kronhausen, Azor, New Order, Siberia More →

  • Remembering Women: Claudia von Alemann’s Blind Spot

    Cherchez la femme, they say. It sounds nice, but what this expression actually means is that woman is the root of all (male) problems, always to blame. Claudia von Alemann’s extraordinary Blind Spot (Die Reise nach Lyon, 1980), recently restored by the Deutsche Kinemathek in cooperation with the Institut Lumière, is a rare film that puts the pursuit of a woman at its heart—not so that she can be punished, not so that a man’s troubles can be explained, but so that her achievements might be rescued from oblivion and might, in the process, change another woman’s life. More →

  • Common Sense Connoisseur: The Critical Legacy of Bertrand Tavernier

    The two most cherished film books in the pile on my bedside table are in a language my command of which is rudimentary at best. But since both Jacques Lourcelles’ Dictionnaire du Cinéma – Les Films as well as Jean-Pierre Coursodon and Bertrand Tavernier’s 50 ans de cinéma américain have never been translated from French into either English or German, I gladly make do, filling the gaps with a mixture of autodidactic guesswork and occasional dictionary consultation, which for all its drawbacks has proved to be a viable method. More →

  • “I prefer, where truth is important, to write fiction:” On Radu Jude

    In the name of the popular, delighting in reduction and obviousness, a boring assertion: the common ground of every film movement christened a “new wave” over the last 70 years has tended toward revision, a self-conscious desire to provide a true image of the people in opposition to the distorted picture given by whatever relevant iterations of official culture. The banality of this claim can be measured by the volume of cant and platitude produced in support of it, often by the artists themselves. There is, I hope, little need to rehearse these arguments regarding realism, myth, and so on. Who today can help but squirm when faced with the phrase “true image of the people?” More →

  • Siberia (Abel Ferrara, Italy/Germany/Mexico/Greece/UK)

    Abel Ferrara is a changed man. While the evidence suggests that this is very good news for Ferrara himself and his immediate family, it could result in a minor schism in the manner in which his films are received. For most of his career Ferrara has been the subject of a Romantic cult that glorified his legendarily self-destructive behaviour, and often read this (literal) lawlessness as an integral part of his renegade creative vision. More →