Look back in anger: the Polish filmmaker is perhaps best known for the proto-psychedelia of 1965’s The Saragossa Manuscript, but much of his formidable filmography consists of realist dramas that explore lost innocence and doomed love
Great expectations: the Romanian filmmaker discusses his madcap latest, an unpredictable, funny, crass, and erudite that speaks to a wide variety of concerns—totalitarianism, neoliberalism, and the corrosive role of media—with extraordinary verve
You can’t go home again: the filmmaker and writer delves into the themes that span her new book, including Hong Kong cinema, reflections on diaspora, the unresolved questions of the postcolonial present, and history as a “collective haunting”
Open wide: Mary Helena Clark’s solo show invites us to confront language as an illusion which tricks humanity into conceiving itself as other than animal
Looking back: at the annual nonfiction showcase in Columbia, Missouri, the standout films all reanimated lost or repressed pasts and offered galvanizing visions of the future
The view from the top: Eric Newman and Annie Berke, editors of the Los Angeles Review of Books, join to discuss, debate, and dismantle this year’s nominees, from Oppenheimer to Killers of the Flower Moon to The Holdovers, and more
Watching the river flow: set in a cold, provincial winter, Nuri Bilge Ceylan’s latest traces the downward spiral of a misanthropic teacher with the Turkish filmmaker’s customary novelistic realism—though with a late formal break new to his oeuvre
