A State of Uncertainty: Tsai Ming-liang on Days by Darren Hughes

New Possible Realities: Heinz Emigholz on The Last City by Jordan Cronk

This Dream Will Be Dreamed Again: Luis López Carrasco’s El año del descubrimiento by James Lattimer

Out of the Inkwell: Kim Deitch on Reincarnation Stories by Sean Rogers


Impresión de un cineasta: On the Films of Camilo Restrepo by Jay Kuehner

The Oral Cinema of Sergio Citti by Celluloid Liberation Front

Rabbit, Run: Elem Klimov’s Come and See by Angelo Muredda

Vagabond: The Films of Patricia Mazuy by Lawrence Garcia

Spotlight: The Decade in Canadian Cinema

Long Live the New Flesh: The Decade in Canadian Cinema by Adam Nayman

Jodie Mack by Sofia Bohdanowicz

Corneliu Porumboiu by Antoine Bourges

Jean-Luc Godard by Andrea Bussmann

Sergei Loznitsa by Atom Egoyan

Jafar Panahi by Hugh Gibson

Caveh Zahedi by Matt Johnson

Steven Spielberg by Isiah Medina

Angela Schanelec by Kazik Radwanski

Lucrecia Martel by Lina Rodriguez

Jem Cohen by Brett Story

Amanda Kernell by Elle-Máijá Tailfeathers

Ang Lee by Blake Williams


Editor’s Note: Best of the Decade


Against Mythomania: The Expanded Cinema of Valie Export by Lucy Brady

TV or Not TV

Exit, Pursued by a Fox: Phoebe Waller-Bridge’s Fleabag by Alicia Fletcher


Sundance by Robert Koehler

Global Discoveries on DVD by Jonathan Rosenbaum

Exploded View: Gregory Zinman’s Making Images Move by Chuck Stephens


Beanpole by Michael Sicinski

And Then We Danced by Katherine Connell

Murmur by Josh Cabrita

The Assistant by Chloe Lizotte

Saint Maud by Jason Anderson

Web Only

Discrete Charms: Rotterdam’s Tiger Short Competition by Phil Coldiron


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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 →