Screen time: incarcerated writer Sara Kielly offers a snapshot of a weekend’s worth of movie-watching at New York State’s Bedford Hills Correctional Facility
Righteous outlaw: The Goldman Case is a brilliant example of a courtroom drama that eschews familiar tropes, placing an individual subject into the context of a larger, historical subject in scrupulously open-ended fashion
Behind closed doors: a new exhibition by Albert Serra at Amsterdam’s Eye Filmmuseum, based on the director’s 2019 feature Liberté, revels in Serra’s career-long interest in what happens at night
Island time: from the vacation antics of Adieu Philippine to the subtly anti-colonial comedy of The Castaways of Turtle Island Jacques Rozier’s films offer a crucial meditation on the possibilities and limitations of killing time
Hook or crook: directors Davy Chou and Martika Ramirez Escobar discuss their relationships with piracy and alternative distribution circuits in Cambodia and the Philippines
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
