Fall Festival Preview
Interviews
The Beauty of Horror and the Horror of Beauty: An Encounter with Albert Serra, by Mark Peranson
A Parade of Images Speaking for Themselves: Blutch’s So Long, Silver Screen, by Sean Rogers
Shine a Light: Ben Rivers and Ben Russell’s A Spell to Ward Off the Darkness, by Michael Sicinski
Features
A Truck Full of Turkeys: Thoughts on Joaquim Pinto’s What Now? Remind Me, by Francisco Ferreira
Killed the Family and Went to the Movies: The Sentimental Education of Júlio Bressane, by Celluloid Liberation Front
A Liar’s Autobiography: The Return of Alejandro Jodorowsky, by Quintín
Sunny Pleasure Domes with Caves of Ice: Politics and the Asian Blockbuster, by Tony Rayns
Women Under the Influence: Hong Sangsoo’s Nobody’s Daughter Haewon and Our Sunhi, by Jordan Cronk
Master Shots: Tsai Ming-liang’s Late Digital Period, by Blake Williams
Pilgrim’s Progress: Manakamana, by Jay Kuehner
Black, White, and Giallo: Forzani and Cattet’s The Strange Colour of Your Body’s Tears, by Jason Anderson
Athens Decathlon: TIFF 2013 City to City, by Adam Nayman
Temps mort: Jim Jarmusch’s Only Lovers Left Alive, by Andrew Tracy
The Man Who Left His Notes on Film: Norbert Pfaffenbichler, by Christoph Huber
The End of Cinema: La última película, by Phil Coldiron
Columns
Film/Art: Camille Henrot, by Andréa Picard
Spare Change: Harry Tomicek, by Olaf Möller
Global Discoveries on DVD, by Jonathan Rosenbaum
Exploded View: Will Hindle, by Chuck Stephens