Material history: Dominik Graf discusses his latest documentary, an investigation of the numerous German writers and artists who collaborated (often quietly) with the Nazi regime
How Soon Is Now? The Killer, David Fincher’s latest entry in the canon of cinema du sociopath is a sleek, meticulously assembled film lives up to its punny tagline: “Execution Is Everything.”
Boo: premised on illusion and promising endless reanimation, cinema is often called the ghostliest of mediums, haunted by phantoms since its beginnings
A dog’s life: a fascinating (and frightening) retrospective at this year’s Viennale focused on violent genre films produced in Austria in the 1980s, exemplified by Gerald Kargl’s controversial 1983 serial-killer flick, Angst
Pod life: horror experts Nicholas Russell and Clyde Folley join for our annual fearfest, this time focusing on Abel Ferrara’s 1993 remake, Body Snatchers, and Michael Powell’s classic, Peeping Tom
Shutter speed: a new series at the Museum of Modern Art showcases a staggering range of Iranian films made before the revolution of 1979, including including films by Bahram Beyzaie, Amir Naderi, and Masoud Kimiai
Through the lens: Martin Scorsese’s Killers of the Flower Moon explores an overlooked chapter of American history, and intervenes in film history itself, especially as it pertains to representations of Native peoples
Listen to this: the place and role of music in NYFF61 biopics Maestro and Priscilla is instructive of the ways in which an artist’s life can only be understood through their work
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