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


“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


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


Visions du Réel 2020 by Michael Sicinski

Global Discoveries on DVD by Jonathan Rosenbaum

Exploded View: No President by Chuck Stephens


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


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

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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 →