Interviews

*The New Workout Plan: Denis Côté’s Ta peau si lisse  by Adam Nayman

Denis Côté’s Ta peau si lisse by Adam Nayman

*Inner and Outer Space: Wang Bing Talks About Mrs. Fang by Daniel Kasman and Christopher Small

*The Land of Terrible Legends: Narimane Mari on Le fort des fous by Jordan Cronk

Add It Up: Valérie Massadian on Milla by Andréa Picard

The Movie Orgy: Sammy Harkham on Blood of the Virgin by Sean Rogers

Features

*Ahead of Its Reflection: Ben Russell’s Good Luck by Phil Coldiron

All Tomorrow’s Féeries: An Introduction to Pierre Léon by Boris Nelepo

*Those You Call Mutants: The Films of Lucrecia Martel by Blake Williams

*Ephraim Asili’s Immeasurable Equations by Jesse Cumming

Our Hitlers: Hans-Jürgen Syberberg and the Roots of the Alt-Right by Jerry White

Columns

*Editor’s Note*Editor’s Note

Deaths of CinemaA Brief History of the Mad PeopleGeorge A. Romero, 1940-2017 by Christoph Huber

*Film/ArtMeet the Restacks: Dani Leventhal and Sheilah Wilson on Strangely Ordinary

This Devotion by Michael Sicinski

TV or Not TVA Little Night Music – Twin Peaks: The Return, Part 8 by Kate Rennebohm

Books: Laurel Fantauzzo’s The First Impulse by Tony Rayns

*DVD Bonus: Capital, CityThree Films by Lino Brocka by Lawrence Garcia

*Global Discoveries on DVD by Jonathan Rosenbaum

Canadiana: Once You’re Here, It’s Hard to LeaveThe New Nova Scotia Cinema by Josh Cabrita

*Exploded View: Bill Viola’s I Do Not Know What It Is I Am Like by Chuck Stephens

Currency

*Did You Wonder Who Fired the Gun? by Celluloid Liberation Front

The Beguiled by Chelsea Phillips-Carr

*Ex Libris—The New York Public Library by Tom Charity

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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 →