Horse sense: Boots Riley's gloriously outrageous film makes its satire sing even as it puts across a radical critique of capitalism and race in America
Like a prayer: the director of First Reformed and screenwriter of Taxi Driver surveys his career (and shows off his storytelling) at the Film Society of Lincoln Center
When will it end? On the strategies (and effectiveness) of the hard-knock stories in Nadine Labaki’s Capernaüm, Sergei Dvortsevoy’s Ayka, Matteo Garrone’s Dogman, and Vittorio De Sica’s Bicycle Thieves
It’s never just one thing: on David Robert Mitchell’s Under the Silver Lake, Lee Chang-dong’s Burning, Alice Rohrwacher’s Lazzaro felice, Gabriel Abrantes and Daniel Schmidt’s Diamantino, and more
This woman’s work: Amy Taubin and Nicolas Rapold on the “82 women” protest, Jafar Panahi’s Three Faces, Eva Husson’s Girls of the Sun, and more thoughts about Godard
Remain in light: on Jean-Luc Godard’s The Image Book, Jia Zhangke’s Ash Is Purest White, Pawel Pawlikowski’s Cold War, and Gabriel Abrantes and Daniel Schmidt’s Diamantino
Finding yourself: with the misanthropy of 2017’s edition looming over this year’s selection, two critics discuss Jaime Rosales’s Petra, Ciro Guerra and Cristina Gallego’s Birds of Passage, Ali Abbasi’s Border, and Paul Dano’s Wildlife
