Between the lines: collector Robert M. Rubin and bibliographer Erin McGuirl join to discuss the ways in which unique screenplays and other "exformation" can help rewrite film history
Another green world: with its pop imagery, sonic dissonance, and vision of life after Armageddon, Marco Ferreri’s 1969 dystopian fable brings to mind a film by George A. Romero remade by Jean-Luc Godard
Strength in numbers: the duo discuss their latest drama about the local effects of global capitalism, which sees working-class Northern Englanders clashing, and finding common ground, with Syrian refugees
Screen time: multimedia artist Josh Kline’s sprawling exhibition at the Whitney Museum attempts to untangle climate change, consumerism, and the function of art in the face of catastrophe
Truth content: the latest from Nicole Holofcener, You Hurt My Feelings, expands on the director’s women-centric inquiries into marriage and its complicated demands of candor and companionship
Reaching out: the trio of filmmakers on their new collaboration, a hybrid film that turns a series of video letters into a meditation on loss, isolation, and connection
Sunrise: Pietro Marcello’s latest, Scarlet is a tender, sumptuous fairy tale which exemplifies the director’s deft straddling of documentary and fiction, realism and illusionism
Finest worksong: documentarian Wang Bing discusses his two Cannes entries—the typically expansive Youth (Spring), and Man in Black, a briefer, but equally dense portrait of a composer
Perspective shift: history was retold and resold at this year’s Cannes, in films like Martin Scorsese's Killers of the Flower Moon, Lisandro Alonso's Eureka, Alice Rohrwacher's La chimera, and others
