Film

Zacharias Kunuk, Atanarjuat: The Fast Runner, 2001. Courtesy: Viviane Delisle and Isuma Distribution International, Montreal

Ahead of representing Canada at the 58th Venice Biennale, the director discusses his 30-year career making films about Inuit life

By Zacharias Kunuk
Djibril Diop Mambéty, Hyènes (Hyenas), 1992. Courtesy: Metrograph Pictures, New york

At Metrograph, New York, Djibril Diop Mambéty’s newly remastered Hyènes offers a darkly comic metaphor of globalization

By Evan Moffitt

The infamous line ‘It is easier to imagine the end of the world than the end of capitalism’ was made for this film

By Gerry Canavan

The boom in cinema magazines dedicated to print

By Erika Balsom
Florian Henckel von Donnersmarck, Never Look Away, 2018. Courtesy: © Buena Vista

Online feuds, real lives and artistic licence

By Jörg Heiser

Twenty years on from the devastating shooting, can its cultural legacy in film and television reframe our present moment?

By Ian Bourland
J.A. Bayona, Jurassic World: Fallen Kingdom, 2018. Courtesy: Universal Pictures

At the American Museum of Natural History, the T. Rex is a resurrecting showman

By Olivia Rodrigues

This annual celebration of cinema has become a vital destination for those invested in the artistic possibilities of the documentary form

By Nick Pinkerton

The television show – the director’s first – is a sequel to his 1997 film of California queer disillusion, Nowhere

By Andrew Durbin

Varda (1928-2019) provided a blueprint for an experimental, politically-radical, idiosyncratically personal and wide-eyed humanist cinema

By Sierra Pettengill
Gretchen Bender, People in Pain (detail), 1988 / 2014, ninety titles, silkscreen on paint and heat set vinyl, neon, transformers. Courtesy: © The Gretchen Bender Estate and Red Bull Arts New York; photograph: Lance Brewer

Once labelled a ‘TV terrorist’, the video artist returns with her first posthumous retrospective at Red Bull Arts New York

By Masha Tupitsyn

‘Black people don’t fear the dead, it’s the living we worry about’

By Nadia Latif