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 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 →