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Moviegoing Memories: Carlos Reygadas

The director of “Our Time” tells us about his favorite cinema and the one film he would most like to see on the big screen.

The Ecstasy of Touch: Close-Up on Ali Abbasi’s “Border”

Ali Abbasi’s remarkable film about two strange outsiders finding one another is an unclassifiable fable of otherness.

Juliette Binoche: The Woman with a Thousand Faces

A look across the beguiling career of the most celebrated contemporary French actresses, the subject of a MUBI retrospective.

Video Sundays: Gems of the Public Domain—William Dickson’s “Dickson Experimental Sound Film”

Recommended viewing: the first film made with live audio (from 1894-1895!), one of many gems scattered across the public domain.

Movie Poster of the Week: Giallo Restorations at the Quad

A collection of lurid and baroque posters for a new series of restored Italian slashers.

“Neon Genesis Evangelion,” Episodes 13–16: There’s Something Wrong with Rei Ayanami

The fourth in a series of essays covering Hideaki Anno’s landmark mecha-anime, which is finally globally available through streaming.

Fable of a Mutilated Childhood: Close-Up Julio Hernández Cordon’s “Buy Me a Gun”

The drug trafficking crisis is re-imagined in this magical-realist fable where a young girl must disguise herself as a boy to survive.

Twisting Our World: Ali Abbasi Discusses “Border”

The Iranian-born director talks about adaptation, ethics, and the role of cinema as surrealism in his unconventional love story, “Border.”

The Forgotten: On the Lam

Steve Cochran and Ruth Roman are lovers on the run in Felix E. Feist’s realist noir.

Rushes: Rip Torn, “Apocalypse Now” Reconsidered, Saul Bass’ Film Posters

This week’s essential news, articles, sounds, videos and more from the film world.

Jeannette Muñoz: Cinema as an Open Letter

At a festival for experimental film in Spain, the Chilean filmmaker presented and discussed her varied 16mm work from ongoing projects.

Peter Strickland: Moving in Stereo

Strickland’s films “Berberian Sound Studio” and “The Duke of Burgundy” evolve the language—the sound and images—of the Eurohorror genre.