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 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 →