Interviews and Features

Electroshock Therapy: Matthew Rankin on The Tesla World Light by Jason Anderson

Quiet Savagery: A Tale of Two Tourneurs by Christoph Huber

All You Can Eat: The Heroism of Howard Hughes by Adam Nayman

Censoring Shakespeare: Ing K’s Shakespeare Must Die by Nathan Letoré

Would You Like to See a Magic Trick?: Basma Alsharif’s Ouroboros and its Contexts by Phil Coldiron

A Passage Through: Filipa César’s Spell Reel  by Jesse Cumming

Dusting the Corners: Luke Fowler’s Restorative Histories by Michael Sicinski

Rossellini’s War Trilogy: Neorealism or Historical Revisionism? by Celluloid Liberation Front

Spotlight: Cannes 2017

Cannes at 70: Bad Times, Good Time by Mark Peranson

Web Extra: An Element of Danger: Josh and Benny Safdie on Good Time by Dan Sullivan

The Square by Josh Cabrita

The Day After / Claire’s Camera  by Andréa Picard

At the Frontier: Valeska Grisebach on Western by James Lattimer

Closeness by Daniel Kasman

24 Frames by Blake Williams

Deserting the Real: Documentaries at Cannes by Richard Porton

Jeannette, l’enfance de Jeanne d’Arc by Jordan Cronk

Un beau soleil intérieur by Giovanni Marchini Camia

Columns

Editor’s Note

Festivals

The Nitrate Picture Show by Alicia Fletcher and Samuel La France

TV or Not TV

Twin Peaks: The Return by Kate Rennebohm

Global Discoveries on DVD by Jonathan Rosenbaum

DVD Bonus: Fat City and Hard Times by Sean Rogers

Exploded View: Peter Gidal’s Room (Double Take) by Chuck Stephens

Currency

Baby Driver by Robert Koehler

Araby by Jay Kuehner

Maison du bonheur by Angelo Muredda

Risk by Steve Macfarlane

Web Extra: Sandy Wexler by Adam Nayman

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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 →