Love for Sale: Sudabeh Mortezai’s “Joy”
In Nigeria, every state is associated with a particular vice. Lagos with its visual, noise, and...
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As the Clock Ticks: Béla Tarr’s “Sátántangó”
10:00 It’s the last morning of the Karlovy Vary International Film Festival. The cinema Kino Čas...
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Queer Kino: 1970s and ‘80s Gay German Arthouse Cinema
The rise of New German Cinema coincided with the birth of gay liberation. Perhaps as a result, the...
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Non-Fiction at BAMcinemaFest 2019: Constructing the Myth of the Self
BAMcinemaFest programs some of the most striking independent films made by US-based filmmakers,...
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The Memory of a Century: Lav Diaz’s “The Halt”
Lav Diaz preceded the premiere of his new film The Halt in the Directors’ Fortnight sidebar of...
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Private and Public Histories: An Interview with Péter Forgács
Found-footage films are on the rise, especially those which employ fragments of home video. Young...
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Let’s Take Over the City: Paulo Rocha’s “Os Verdes Anos”
Talent Press, a section of Talents Buenos Aires, is a theoretical and practical program created...
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‘‘The Devil Looks Like a Mounted Policeman’’: “Nuestra Voz de Tierra, Memoria y Futuro,” and the Cinema of Marta Rodríguez
A wide shot of a mountainside cloaked in mist shows a masked figure, carrying a briefcase,...
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To Film What Is Spoken: Wang Bing on “Beauty Lives in Freedom”
“I tell the story as it happened. I don’t want to make things up, I don’t need to. What is...
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Carnal Terror: The Films of Claire Denis
“Take me Take me to the very heart of you Tonight I wanna touch the stars Tonight I wanna be in...
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Everyday Magic: Blitz Bazawule’s “The Burial of Kojo”
The Burial of Kojo opens with a near-perfect shot. The scene is played as a fever dream, a...
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Arthouse and Introspection: An Interview with Jacqueline Lentzou
In just seven short films — including the recently lauded “Fox” (2016), “Hiwa” (2017), and “Hector...
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