Look both ways: three new publications of Chris Marker’s texts expand our understanding of him as a multimodal artist, as attentive to the formal qualities of cinema as to matters of prose, graphic design, and civic issues
Born to film: in their openness and DIY approach, Danny Lyon's films resist the streamlined, polished professionalism that The Bikeriders movie adaptation epitomizes
Sing me back home: Angela Schanelec's Music is a hypnotic reverie about hands and feet, landscapes and bodies, gazes and gestures, and people suddenly lifting their voices in song
Summer's end: Annie Baker's filmmaking debut locates poetry in the interstices, inviting the viewer to experience the passage of time in company with her characters
Past flames: the Nitrate Picture Show isn't an exercise in fetishism or nostalgia; instead, its emphasis on format shifts attention to history—to the life of a print, which is visible in scratches, warping, and clipped frames
Double vision: how long can we maintain the ruse of championing artistic freedom and civil liberties in cinemas surrounded by hundreds of cops and A.I.-powered cameras and staffed by underpaid workers?
National pastimes: as the festival enters its waning days, standout films like Roberto Minervini's The Damned, Carson Lund's Eephus, and Tyler Taormina's Christmas Eve in Miller's Point investigate how we make meaning out of the past
Things have changed: Beatrice Loayza reports from the festival's midpoint, offering reactions to Jacques Audiard's Emilia Pérez, Jia Zhangke's Caught by the Tides, and Patricia Mazuy's Visiting Hours
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