Interviews

The Land Demands Your Effort: C.W Winter (and Anders Edström) on The Works and Days (of Tayoko Shiojiri in the Shiotani Basin) by Mark Peranson

DAU. Diary & Dialogue. Part One: A Living World by Jordan Cronk

As If We Were Dreaming It: Christian Petzold’s Undine by James Lattimer

The Math of Love Triangles: Athina Rachel Tsangari’s Trigonometry by Adam Nayman

Features

“In Search of the Female Gaze” by Erika Balsom

The Limits of Control: The Militant Cinema of Med Hondo by Kate Rennebohm

Traces of Desire: Robert Kramer in France by Jerry White

In Search of the Female Gaze by Erika Balsom

Have It Your Own Way: Dorothy Arzner’s Dance, Girl, Dance by Alicia Fletcher

Live(stream) and In Person: Watching Zia Anger’s My First Film in the Age of Quarantine by Jessica McGoff

Six Impossible Colours (Out Of Space): H.P. Lovecraft and Cinema by Christoph Huber

Columns

TV or Not TV: “Ozark’s America and the Rise of the Longform” by Robert Koehler

Editor’s Note

Film/Art: Igor Levit’s Hauskonzerts by Shelly Kraicer

TV or Not TV: Ozark’s America and the Rise of the Longform by Robert Koehler

Festivals

Visions du Réel 2020 by Michael Sicinski

Global Discoveries on DVD by Jonathan Rosenbaum

Exploded View: No President by Chuck Stephens

Currency

Never Rarely Sometimes

Never Rarely Sometimes Always by Courtney Duckworth

Blood Quantum by Mallory Andrews

The Vast of Night by Anna Swanson 

s01e03 by Josh Cabrita

Web Extra

Festivals

There Can Be a Better World: The 2020 Images Festival by Cayley James

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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 →