Interviews

Sightsurf and Brainwave: Blake Williams’ PROTOTYPE by Michael Sicinski

In the Shadow of the Magic Kingdom: Sean Baker on The Florida Project by Adam Cook

Giving Credibility to the Universe: Hélène Cattet and Bruno Forzani on Laissez bronzer les cadavres by Christoph Huber

Features

The Uses of Disenchantment: Guillermo del Toro’s The Shape of Water by Adam Nayman

The Limits of Control: Lucien Castaing-Taylor & Véréna Paravel’s Caniba by Samuel La France

For Future History: Barbet Schroeder’s Trilogy of Evil by Steve Macfarlane

The Ties that Bind: On Recent Work by Laura Huertas Millán by Jesse Cumming

Sohrab Shahid Saless: Enter the Void by Christopher Small

Revisiting Marco Ferreri: The Veterinarian of Wo\Mankind by Celluloid Liberation Front

Spotlight: Fall Festival Highlights

3/4 by Jordan Cronk

Cocote by Jay Kuehner

Dragonfly Eyes by Shelly Kraicer

Foxtrot by Michael Sicinski

The Green Fog by Lawrence Garcia

Madame Hyde by Blake Williams

The Wandering Soap Opera by James Lattimer

Columns

Editor’s Note by Mark Peranson

Film/Art

Just Another Notion: Mike Henderson, A Painter Who Makes Films by Phil Coldiron

Books

Hollywood, Read: Slow Writing: Thom Andersen on Cinema by Sean Rogers

TV or Not TV

Psycho Killer, qu’est-ce que c’est? David Fincher’s Mindhunter by Neil Bahadur

Global Discoveries on DVD by Jonathan Rosenbaum

Canadiana

They Are What They Are: Future//Present Shorts by Josh Cabrita

Exploded View: Stan Brakhage’s Metaphors on Vision by Chuck Stephens

Currency

Phantom Thread by Robert Koehler

Three Billboards Outside Ebbing, Missouri by Angelo Muredda

Dawson City: Frozen Time by Alicia Fletcher

Blade Runner 2049 by Jason Anderson

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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 →