From the Editor
New Visions, Old Crises
B. Ruby Rich

Features
Vision, Mystery, And Release in The Reverse Field: Bruno Dumont’s L’il Quinquin
James S. Williams

The Act of Remembering, The Xianchang of Recording: The Folk/Minjian Memory Project in China
Angela Zito

The “Trivialist Cinema” of Roy Andersson: An Interview
Megan Ratner

A Sudden Passion
Carlos Adriano’s Sem Titulo #1: Dance of Leitfossil
Scott Macdonald

Columns
The Vulnerable Spectator: In the Clouds
Amelie Hastie

Screenings: CCC, The Mexican State Film School
Paul Julian Smith

For/From the Archives
Unsettling the Archive: Tell It Like It Is and the Constitutive Possibilities of Black Film History
Nicholas Forster

Festival Reports
Cannes 2015: The Palm Wore Black
Joan Dupont

The Busan International Film Festival in Crisis Or, What Should a Film Festival Be?
Darae Kim, Dina Iordanova, and Chris Berry

Blu-Ray/DVD Reviews
Passive Resistance: The Deceptive Calm of The Silence of The Sea (Le Silence De La Mer)
Jonathan Kirshner

Page Views
The Digital, the Virtual, and the Possible: Riffing with Homay King on Virtual Memory: Time-Based Media Art and the Dream of Digitality
Regina Longo

Book Reviews
Dana Polan
Off-Screen Cinema: Isidore Isou and the Lettrist Avant-Garde by Kaira M. Cabañas

Catherine Grant
Women’s Cinema World Cinema: Projecting Contemporary Feminisms by Patricia White

Jonathan Rosenbaum
The Writers: A History of American Screenwriters and Their Guild by Miranda J. Banks

Christina Gerhardt
Werner Herzog: Interviews, edited by Eric Ames and Werner Herzog: A Guide for the Perplexed, edited by Paul Cronin

Violet Lucca
Maya Deren: Incomplete Control by Sarah Keller

Phillip Maciak
Closed Circuits: Screening Narrative Surveillance by Garrett Stewart and Surveillance Cinema by Catherine Zimmer