It Happened One Night: Alexandre Koberidze on What Do We See When We Look at the Sky? by Jordan Cronk

Can’t Get You Out of My Head: Dasha Nekrasova on The Scary of Sixty-First by Gabrielle Marceau

Depth is Real: A Conversation with Jean-Claude Rousseau by Blake Williams


Brief Encounters: Hamaguchi Ryusuke’s Wheel of Fortune and Fantasy by Beatrice Loayza

“I prefer, where truth is important, to write fiction” : On Radu Jude by Phil Coldiron

Crisis Management: Amalia Ulman’s El Planeta by Jaclyn Bruneau

Common Sense Connoisseur: The Critical Legacy of Bertrand Tavernier by Christoph Huber

Remembering Women: Claudia von Alemann’s Blind Spot by Erika Balsom

To Each His Own Cinema: Zhang Yimou’s One Second by Shelly Kraicer

In the Earth: Kier-La Janisse’s Woodlands Dark and Days Bewitched: A History of Folk Horror by Katherine Connell


Editor’s Note

Deaths of Cinema: Joan Micklin Silver by Josh Cabrita

Deaths of Cinema: Monte Hellman by Haden Guest

TV or Not TV Exterminate All the Brutes by Robert Koehler 

DVD Bonus: Andy Milligan by Will Sloan

Exploded View: Eberhard and Phyllis Kronhausen’s Psychomontage No. 1 by Chuck Stephens


Petite maman by Courtney Duckworth 

Azor by Jay Kuehner

Faya Dayi by Jesse Cumming

Zack Snyder’s Justice League by Angelo Muredda

New Order by Adam Nayman

The Disciple by Lawrence Garcia

The Empty Man by Brendan Boyle

Siberia by Michael Sicinski


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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 →