Kay Dick’s rediscovered dystopia.
On Michel Houellebecq.
Alana Hunt’s chronicles of Kashmiri occupation.
Laurent Cantet’s unsettling latest film.
Surrealism past and present.
Freedom and constraint in the art of Helen Frankenthaler.
A new biography of Elizabeth Hardwick.
The films of Julia Ducournau.
On Apichatpong Weerasethakul’s ‘Memoria’.
On the latest film by Paul Thomas Anderson.
The provocative prose of Christine Angot.
Hamid Ismailov’s dissident fictions.
Reappraising Sartre’s art writing.
A return to Viennese modernism.
On the latest film by Wes Anderson.
Trouble at the new M+ Museum.
Ryusuke Hamaguchi’s patient cinema.
On Jonathan Franzen.
Aleksandar Tišma’s unsparing war trilogy.
Fleur Jaeggy’s astringent fictions.
Political desire in the art of Paula Rego.
Haneda Sumiko’s cinema of senescence.
Roberto Calasso (1941-2021).
Colonial legacies in the fiction of Faïza Guène.
Mario Levrero’s literature of distraction.
Marxist-Buddhist polymath Rahul Sankrityayan.
Owen Hatherley’s retrospective essays.
The Vietnamese poet of exile and longing.
Ghédalia Tazartès (1947-2021).
At the Pompidou.
Rivka Galchen and the historical novel.
The politics of Iran’s star director.
Football in Bolsonaro’s Brazil.
The premonitory cinema of Christos Nikou.
Joshua Cohen’s meta-historical comedy.
The enigmatic oeuvre of Mieko Kawakami.
Freudian prescriptions for a post-pandemic world.
Ruin and exile in the novels of Christina Stead.
Politics and genre in the debut novel of Chris Power.
Mothers and daughters in the work of Gwendoline Riley.
Expressions of autonomy in the paintings of Lynette Yiadom-Boakye.
Science and society at a time of crisis.
On the latest documentary by Adam Curtis.
Agustín Fernández Mallo’s archaeology of the present.
Signs of life in Brazilian radical film.
The unflinching personal writing of Megan Nolan.
History and illusion in the work of Andrei Konchalovsky.
The pandemic and the pornography of mortality.
Past and present in the work of Jenny Erpenbeck.
Reflections on Daft Punk.