1930-2022.
On Ian McEwan.
At Camera Austria.
Claude Simon’s confrontation with history.
Jhumpa Lahiri’s Italian turn.
Albert Serra’s latest film.
Ottessa Mosfegh’s chronicles of anguish.
On László Krasznahorkai.
On Pedro Almodóvar.
The self-fabulations of Hervé Guibert.
Ruben Östlund’s Palme d’Or winner.
Rosemary Tonks and disavowal.
Jean-Gabriel Périot and the art of montage.
The literary crusade of Halldór Laxness.
Paul Verhoven’s latest directorial provocation.
Joseph Andras’s portraits of struggle.
Animals and humans in the art of Francis Bacon.
The latest work by Sheila Heti.
Tensions in Joan Micklin Silver’s cinema.
Fernanda Melchor’s portraits of national decay.
Bedros Yeretzian at Commercial Street gallery.
The lapsed miniaturism of Alejandro Zambra.
Commitment in the art of Peter de Francia.
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.