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
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
Love in the afternoon: the French filmmaker discusses her return to cinema, the productive tension between realism and expressionism, the art of the sex scene, and much more
Office culture: director Rodrigo Moreno discusses his NYFF61 standout, a matryoshka doll of a movie, crackling with dry humor, about the drudgery of office work
Be like water: Víctor Erice’s Close Your Eyes and Kleber Mendonça Filho’s Pictures of Ghosts are love letters to cinema that take very different approaches
Earth and sky: the director and cinematographer behind the NYFF61 standout discuss their poetic, evocative portrait of a young woman whose story is inextricably linked to a sense of community and place
