The Play for Tomorrow: Steve McQueen’s Small Axe by Michael Sicinski

The Crowd is Dead, Long Live the Crowd! by Erika Balsom

All the Fountains of the Great Deep: Artavazd Pelechian’s La Nature by Phil Coldiron

Minority Report: Armond White Wants to Make Spielberg Great Again by Adam Nayman

F for Fake: Mank by Andrew Tracy

Minimalist Maximalism: The Hilarious Horror of Don Hertzfeldt’s World of Tomorrow by Christoph Huber

I Thought I Was Seeing Palestinians: On Kamal Aljafari by Kaleem Hawa

The Limbs of Satan: A Century of Flappers on Film by Alicia Fletcher

Juliet Berto, où êtes vous? by Steve Macfarlane


Beginning by Lawrence Garcia

The Calming by Courtney Duckworth

City Hall by Josh Cabrita

Genus Pan by Jesse Cumming

Her Socialist Smile by Jordan Cronk

Inconvenient Indian and Trickster by Gabrielle Marceau

There Are Not Thirty-Six Ways of Showing a Man Getting on a Horse by Devika Girish


Editor’s Note by Mark Peranson

Film/Art | Slow Reading by Haden Guest

Books | Auditorium of the Head: JG Ballard in (and on) Cinema by Celluloid Liberation Front

Global Discoveries on DVD by Jonathan Rosenbaum

Exploded View | Michael Snow’s Cover to Cover by Chuck Stephens


Nomadland by Robert Koehler

Hillbilly Elegy by Darren Hughes

Another Round by Angelo Muredda

Borat Subsequent Moviefilm: Delivery of Prodigious Bribe to American Regime for Make Benefit Once Glorious Nation of Kazakhstan by Brendan Boyle


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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 →