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src="></picture></span></div></div></div></div><div class="GridWrapper-cAzTTK eRggVV grid grid-margs grid-ems-0 SplScreenContentHearGrid-kFpOdh fLkIyA"><div class="GridItem-buujkM kHPPIF grid--em"><div class="CaptnWrapper-jSZdqE iTuhkZ ptn SplScreenContentHearCaptn-iOfEOv ckLUKG"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ CaptnCred-ejegDm iUEiRd iicloT jbIJNS ptn__cred">Illtratn by Andrew B. Myers</span></div></div></div></hear></div><div data-attribute-verso-pattern="article-body" class="ArticlePageContentBackGround-cNiFNN kbAoLA article-body__ntent"><div class="ActnBarWrapperContent-lasBkU cAHp"><div class="ActnBarWrapperComponent-cjwxLS bEeSLb"><div data-attr-viewport-monor="" class="ActnBarWrapper-dhxmQh kNjTbQ viewport-monor-anchor"><button id="bookmark" aria-label="Save this story" class="ActnBarButton-dyFOZU hQrwCF bookmark large-screen"><span class="ActnBarSendaryButtonPrimaryIn-isbvyN cAwccV bookmark-button-in"><svg class="in in-bookmark" width="24" height="24" viewBox="0 0 24 24" fill="none" xmlns="><tle>Save this story</tle><path class="in-bookmark-fill" d="M20 23.9508L12.5 19.7312L5 23.9508V2.95081H14V3.93211H6V22.1845L12.5 18.5536L19 22.1845V8.83866H20V23.9508Z"></path><path class="in-bookmark-fill" d="M23 3H20V0H19V3H16V4H19V7H20V4H23V3Z"></path></svg></span><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ ActnBarButtonText-bYXYuh iUEiRd bkefvo gkccfO">Save this story</span></button></div><div data-attr-viewport-monor="" class="ActnBarWrapper-dhxmQh kAEsuD viewport-monor-anchor"><button id="bookmark" aria-label="Save this story" class="ActnBarButton-dyFOZU cjjxgx bookmark mobile"><span class="ActnBarSendaryButtonPrimaryIn-isbvyN cAwccV bookmark-button-in"><svg class="in in-bookmark" width="24" height="24" viewBox="0 0 24 24" fill="none" xmlns="><tle>Save this story</tle><path class="in-bookmark-fill" d="M20 23.9508L12.5 19.7312L5 23.9508V2.95081H14V3.93211H6V22.1845L12.5 18.5536L19 22.1845V8.83866H20V23.9508Z"></path><path class="in-bookmark-fill" d="M23 3H20V0H19V3H16V4H19V7H20V4H23V3Z"></path></svg></span><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ ActnBarButtonText-bYXYuh iUEiRd bkefvo gkccfO">Save this story</span></button></div></div></div><div class="LightboxWrapper-dxsWBV hhylRt"><div class="ArticlePageChunksContent-etcMtP imbgVA"><div data-ttid="ArticlePageChunks" class="ArticlePageChunks-fLyCVG lmuXQm"><div class="GridWrapper-cAzTTK eRggVV grid grid-margs grid-ems-0 ArticlePageChunksGrid-hfxa bDFJoo"><div class="GridItem-buujkM kHPPIF grid--em"><div class="BodyWrapper-kufPGa bDyAMU body body__ntaer article__body" data-journey-hook="client-ntent" data-ttid="BodyWrapper"><div class="body__ner-ntaer"><p class="has-dropp has-dropp__lead-standard-headg">There is no end to the makg of lists, but I’d be lyg if I said that I didn’t enjoy readg them as much as I like makg them. There’s a polemil si to cricism that fds a crystalle form lists, but ntentns isn’t their only value. For starters, lists are mnemonic, gatherg thgs to remember, and also judgmental, assertg what’s worth rememberg. That’s why I don’t lim myself to a Top Ten but stretch the list to f as many films as I’m moved to clu. The sential ia that guis me cricism is that the world of movi is far bigger than the n of wily publicized releas. At year’s end, I pile the movi that imposed themselv on memory and which (even if their subjects are grim or their ton are severe) have provid endurg pleasur and illumatns.</p><p class="paywall">This year, ’s all the more important to offer a wily clive list, bee a wi range of Amerin filmmakers have ught up wh the pable phenomenon of the recent past: the rurgence of openly anti-mocratic forc and brazenly hate-driven iologi, the crisis of illegimate le, the menace of thorarianism, the potential end of even our current bilated Amerin mocracy. The phenomenon is certaly not limed to the Uned Stat, and filmmakers om around the world have long been nontg their own untri bravely, sightfully, and genly. For years, many of the bt Amerin filmmakers have been makg films of polil outrage, wh the unsurprisg lik of <a href=">Spike Lee</a>, <a href=">Jim Jarmch</a>, and <a href=">Frerick Wiseman</a> at the foreont, and such younger filmmakers as <a href=">Jordan Peele</a>, <a href=">Garrett Bradley</a>, and <a href=">Eliza Htman</a> jog them. This year offers a shift the cematic paradigm by way of a host of memorable movi; there’s somethg new and extraordary the air, and has precisely to do wh history and memory—and, most powerfully, their tersectn.</p><p class="paywall">The ways which the bt Amerin filmmakers are ntendg wh the past reflect and rist the falsifitns, nials, and supprsns of history that are tegral to the right wg’s polil agenda of mistn. The past is the battleground on which the ntt for Amerin power is beg fought. It’s a battle not for the Amerin soul but for the choice between soul and soullsns, between a livg mocracy and the zombie one that has been envisned recent years such movi as “<a href=">The Dead Don’t Die</a>,” “<a href=">Monrovia, Indiana</a>,” and “<a href=">Us</a>.” For current filmmakers, the turn to the past is no retreat om prent-day nflicts but a ccial, targeted, and ep-rooted ntentn wh them—a diagnosis and an terventn. Their films expose the foundatn, the substctur, the unrlyg ab and sedimented forms of power that are manifted today’s polics.</p><p class="paywall">Walter Benjam, his fal pleted work, “Th on the Philosophy of History,” om 1940, wrten France after Nazi Germany’s vasn of Poland, regnized the nnectn between history and polil emergency. “To articulate the past historilly do not mean to regnize ‘the way really was.’ . . . It means to seize hold of a memory as flash up at a moment of danger,” he wrote. He acknowledged that turng to the past n be a prent-tense polil stggle, on the premise that “<em>even the ad</em> will not be safe om the enemy if he ws.” The li beg foisted on stunts many stat about Southern race relatns and the Conferacy file the experience of those who endured enslavement and Jim Crow, jt as the prevalence of neo-Nazi iology the current-day Republin Party and amid media and social-media moguls is an offense to the victims of Nazism and those who lost their liv the battle to feat Nazi Germany.</p><p class="paywall">This year, Peele, “Nope,” nnected the history of movi to the perpetuatns of grand-sle evils; Jam Gray, “Armageddon Time,” tertwed a childhood story of whe privilege wh the arrogant rise of the Tmp fay; David O. Rsell, “Amsterdam,” portrayed a tr of the First World War’s sulted and jured as they rist a Deprsn-era right-wg up; Chonye Chwu, “Till,” revealed the timate heroism behd the creatn of a historic moment; and Ricky D’Ambrose, “The Cathedral,” workg on a mcule budget, dramatized the separabily of fay nflict and athetic tn om the polil cris of their time. All of the directors are takg part the ongog culture war over what stori of Amerin life get tght. They’re takg up cematic arms agast nostalgia, cliché, and myth—agast the notn that there’s one story to tell, and agast grotquely oversimplified ways of tellg . They don’t fall to the trap of mere topily but vise distctive and dividual forms for the recuperatn of history, for maniftg the ceasels life of the past. And, as Great Bra backslis to s own imperial myths, Brish filmmakers such as Terence Davi and Joanna Hogg lved to the untry’s actual past, wh thrillg blends of nontatn and imagatn.</p><div><div class="ConsumerMarketgUnThemedWrapper-iUTMTf jssHut nsumer-marketg-un nsumer-marketg-un--article-mid-ntent" role="prentatn" aria-hidn="te"><div class="nsumer-marketg-un__slot nsumer-marketg-un__slot--article-mid-ntent nsumer-marketg-un__slot---ntent"></div><div class="journey-un"></div></div></div><p class="paywall">The turn to history also reflects the outrageons of the time: the seemgly overwhelmg challenge of pturg, the prent tense, the open rise of Amerin fascism amid the aftershocks of the <em class="small">COVID</em> panmic. In this moment, ’s worth nsultg the movi of filmmakers workg unr censor regim, where potg a mera the street is a dangero act of fiance, and also a manver the culture war. In Iran, for example, such directors as Jafar Panahi (who’s currently imprisoned) and his son, Panah, film prent-day stori on lotn, enpsulatg a vast span of their untry’s social cris by way of lol and timate dramas.</p><div data-attr-viewport-monor="le-recirc" class="le-recirc-wrapper le-recirc-observer-target-1 viewport-monor-anchor"></div><p class="paywall">Such directors are keenly aware of the threat that their films may not be screened, or may bee unavailable, and that movi om around the world are strgently blocked, too. In the U.S., the official censorship of films is rarely an issue; stead, the menace is one borne of mercial imperativ. Classic films risk gettg swallowed up ntractually: pani get bought, rights expire, and, whereas some movi slip away through the <a href=">bs mol of planned srcy</a>, others vanish out of mere difference. New films are pched between the shift toward streamg (which favors serial TV over movi) and the effects of the panmic, which has <a data-offer-url=" class="external-lk" data-event-click="{"element":"ExternalLk","outgogURL":"" href=" rel="nofollow noopener" target="_blank">sharply cut</a> to moviegog habs, pecially among olr viewers of art-hoe films—as seen the box-office failure of most of the late-year batch of Osr-type releas. Slippg om limed theatril release to rapid engulfment an oceanic streamg doma, many movi of great mer rema nomally available but leave hardly a trace of their prence. Here, too, Panahi’s 2015 film, “<a href=">Taxi</a>,” wh s pictn of the director’s own algs wh a iendly bootlegger of banned, self-burned DVDs, offers wise unsel for keepg ample lists: bee ’s imperative to watch what you n when you n, as soon as you n.</p><hr class="paywall"/><le-embed name="feature-flt" attrs="[object Object]" childTyp="image" ntentType="llout:feature-flt"><figure class="AssetEmbedWrapper-eVDQiB byBkf asset-embed"><div class="AssetEmbedAssetContaer-eJxoAx dBHGoQ asset-embed__asset-ntaer"><span class="SpanWrapper-umhxW kGxnNB rponsive-asset AssetEmbedRponsiveAsset-cXBNxi eCxVQK asset-embed__rponsive-asset"><picture class="RponsiveImagePicture-cWuUZO KhjZz AssetEmbedRponsiveAsset-cXBNxi eCxVQK asset-embed__rponsive-asset rponsive-image rponsive-image--expandable"><noscript><img alt="Still om Benedictn wh two people dancg" class="RponsiveImageContaer-eybHBd fptoWY rponsive-image__image" src=" srcSet=" 120w, 240w, 320w, 640w, 960w, 1280w, 1600w" siz="100vw"/></noscript></picture></span></div><div class="CaptnWrapper-jSZdqE iTuhkZ ptn AssetEmbedCaptn-fNQBPI fmQnYP asset-embed__ptn"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ CaptnCred-ejegDm iUEiRd iicloT jbIJNS ptn__cred">Photograph urty Roadsi Attractns</span></div></figure></le-embed><div role="headg" aria-level="3" class="paywall headg-h3">1. “<a href=">Benedictn</a>”</div><p class="paywall">Wh this b-pic of the First World War poet and memoirist Siegied Sassoon, Terence Davi creat a ttly ntrolled, sthg, yet often exuberant visn of creative fury, lost love, the cel reprsn of queer liv, and the vastatn of war. Its historil spe and personal passn are both enormo.</p><hr class="paywall"/><div role="headg" aria-level="3" class="paywall headg-h3">2. “<a href=">Nope</a>”</div><p class="paywall">Jordan Peele’s cema-centric science-fictn film is a superspectacle about the creatn of superspectacl, a fantasy about the irreprsible realy of history, a metaphysil visn of the material world of the image—and a giddily imagative, symbolilly powerful thriller.</p><hr class="paywall"/><div role="headg" aria-level="3" class="paywall headg-h3">3. “<a href=">Armageddon Time</a>”</div><p class="paywall">Jam Gray tracks the epicenter of Amerin polil pathology to his native borough of Queens this quasi-tobgraphil g-of-age story, set 1980, which a middle-class Jewish fay fac the chill wds of history—and which the Tmp fay figur promently.</p><hr class="paywall"/><div role="headg" aria-level="3" class="paywall headg-h3">4. “<a href=">No Bears</a>”</div><p class="paywall">Workg clanstely Iran wh the threat of arrt hangg over his head, Jafar Panahi plays himself this wry, enraged metafictnal tale about the prospect of exile and the sid opprsn of relig thori, one that’s centered on his vis to a borr town orr to tele-direct a film across the borr Turkey.</p><hr class="paywall"/><le-embed name="feature-flt" attrs="[object Object]" childTyp="image" ntentType="llout:feature-flt"><figure class="AssetEmbedWrapper-eVDQiB byBkf asset-embed"><div class="AssetEmbedAssetContaer-eJxoAx dBHGoQ asset-embed__asset-ntaer"><span class="SpanWrapper-umhxW kGxnNB rponsive-asset AssetEmbedRponsiveAsset-cXBNxi eCxVQK asset-embed__rponsive-asset"><picture class="RponsiveImagePicture-cWuUZO KhjZz AssetEmbedRponsiveAsset-cXBNxi eCxVQK asset-embed__rponsive-asset rponsive-image rponsive-image--expandable"><noscript><img alt="Still om Both Sis of the Bla showg two people si by si lookg out" class="RponsiveImageContaer-eybHBd fptoWY rponsive-image__image" src=" srcSet=" 120w, 240w, 320w, 640w, 960w, 1280w, 1600w" siz="100vw"/></noscript></picture></span></div><div class="CaptnWrapper-jSZdqE iTuhkZ ptn AssetEmbedCaptn-fNQBPI fmQnYP asset-embed__ptn"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ CaptnCred-ejegDm iUEiRd iicloT jbIJNS ptn__cred">Photograph urty Wild Bunch</span></div></figure></le-embed><div role="headg" aria-level="3" class="paywall headg-h3">5. “<a href=">Both Sis of the Bla</a>”</div><p class="paywall">A rad journalist and a sports agent are hnted by the past, and by current-day social nflicts, Claire Denis’s emotnally bisg romantic melodrama, which livers fierce dialectil battl an abpt, pugnac style.</p><hr class="paywall"/><div role="headg" aria-level="3" class="paywall headg-h3">6. “<a href=">H the Road</a>”</div><p class="paywall">A fay’s r trip through ral Iran is shadowed by danger and straed by imment separatn the first feature by Panah Panahi (Jafar’s son), which featur one of the great antic, and poignant, child performanc of recent years.</p><hr class="paywall"/><div role="headg" aria-level="3" class="paywall headg-h3">7. “<a href=">Amsterdam</a>”</div><p class="paywall">The trmas of the First World War (aga), the rise of Fascism Europe, and the te story of a failed right-wg up agast a Democratic Print provi the historil amework for David O. Rsell’s effervcent yet embtered edic drama of iendship, romance, accintal heroism, and the Amerin way of hatred.</p><hr class="paywall"/><div role="headg" aria-level="3" class="paywall headg-h3">8. “<a href=">Sat Omer</a>”</div><p class="paywall">The real-life story of a Senegale woman France who was charged wh the killg of her young child—and of the French filmmaker Alice Dp’s own effort to document the se—is the premise of this fictn feature by Dp, who nonts the polil and personal implitns of the events.</p><hr class="paywall"/><le-embed name="feature-flt" attrs="[object Object]" childTyp="image" ntentType="llout:feature-flt"><figure class="AssetEmbedWrapper-eVDQiB byBkf asset-embed"><div class="AssetEmbedAssetContaer-eJxoAx dBHGoQ asset-embed__asset-ntaer"><span class="SpanWrapper-umhxW kGxnNB rponsive-asset AssetEmbedRponsiveAsset-cXBNxi eCxVQK asset-embed__rponsive-asset"><picture class="RponsiveImagePicture-cWuUZO KhjZz AssetEmbedRponsiveAsset-cXBNxi eCxVQK asset-embed__rponsive-asset rponsive-image rponsive-image--expandable"><noscript><img alt="Still om The Eternal Dghter showg Tilda Swton lookg out of a wdow" class="RponsiveImageContaer-eybHBd fptoWY rponsive-image__image" src=" srcSet=" 120w, 240w, 320w, 640w, 960w, 1280w, 1600w" siz="100vw"/></noscript></picture></span></div><div class="CaptnWrapper-jSZdqE iTuhkZ ptn AssetEmbedCaptn-fNQBPI fmQnYP asset-embed__ptn"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ CaptnCred-ejegDm iUEiRd iicloT jbIJNS ptn__cred">Photograph urty A24</span></div></figure></le-embed><div role="headg" aria-level="3" class="paywall headg-h3">9. “<a href=">The Eternal Dghter</a>”</div><p class="paywall">Joanna Hogg’s wildly imagative and meticuloly crafted sequel to her two “<a href=">Souvenir</a>” films unfolds the sentimental and cematic journey of a middle-aged filmmaker and her elrly mother, stars Tilda Swton both rol, and clus a ghost.</p><hr class="paywall"/><div role="headg" aria-level="3" class="paywall headg-h3">10. “<a href=">The Cathedral</a>”</div><p class="paywall">Ricky D’Ambrose’s send feature—an tobgraphy faial and historil taclysms, a g-of-age story visual whispers of bety—is an origal kd of personal film, which embrac a mighty spe on an timate sle.</p><hr class="paywall"/><div role="headg" aria-level="3" class="paywall headg-h3">11. “<a href=">Till</a>”</div><p class="paywall">This historil drama of the lynchg of Emmett Till, Mississippi, 1955, is centered on the heroic effort of Mamie Till-Mobley, his mother, to publicize the killg and spire ristance to the Jim Crow laws and practic that gave rise to . The movie’s director, Chonye Chwu, velops a distctive athetic that befs the subject.</p><hr class="paywall"/><div role="headg" aria-level="3" class="paywall headg-h3">12. “<a href=">Don’t Worry Darlg</a>”</div><p class="paywall">Olivia Wil’s fanatilly tailed, emotnally off-kilter renstctn of a neteen-fifti planned muny and s charismatic lear giv rise to a wild genre mashup and an cisive athetic crique.</p><hr class="paywall"/><div role="headg" aria-level="3" class="paywall headg-h3">13. “<a href=">Saturday Fictn</a>”</div><p class="paywall">Shown at ftivals 2019 but unreleased the U.S. until this year, Lou Ye’s visn of spi vers spi, the i of theatre, ternatnalized Shanghai, unr Japane occupatn, at the outset of the Send World War, is a dazzlgly plex thriller and a sharp allegory of current-day efforts to make art unr a reprsive regime.</p><hr class="paywall"/><div role="headg" aria-level="3" class="paywall headg-h3">14. “<a href=">In Front of Your Face</a>”</div><p class="paywall">The South Korean director <a href=">Hong Sangsoo</a> builds his dialogue-centered dramas around his performers, and this lmly feroc fictn of a long-retired actrs’s reckong wh mortaly and art stars the acclaimed actrs Lee Hye-young, who herself had been absent om movi for many years.</p><hr class="paywall"/><le-embed name="feature-flt" attrs="[object Object]" childTyp="image" ntentType="llout:feature-flt"><figure class="AssetEmbedWrapper-eVDQiB byBkf asset-embed"><div class="AssetEmbedAssetContaer-eJxoAx dBHGoQ asset-embed__asset-ntaer"><span class="SpanWrapper-umhxW kGxnNB rponsive-asset AssetEmbedRponsiveAsset-cXBNxi eCxVQK asset-embed__rponsive-asset"><picture class="RponsiveImagePicture-cWuUZO KhjZz AssetEmbedRponsiveAsset-cXBNxi eCxVQK asset-embed__rponsive-asset rponsive-image rponsive-image--expandable"><noscript><img alt="Still om Apollo 10 12 A Space Age Childhood pictg a person a space su upsi down" class="RponsiveImageContaer-eybHBd fptoWY rponsive-image__image" src=" srcSet=" 120w, 240w, 320w, 640w, 960w, 1280w, 1600w" siz="100vw"/></noscript></picture></span></div><div class="CaptnWrapper-jSZdqE iTuhkZ ptn AssetEmbedCaptn-fNQBPI fmQnYP asset-embed__ptn"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ CaptnCred-ejegDm iUEiRd iicloT jbIJNS ptn__cred">Image urty Netflix</span></div></figure></le-embed><div role="headg" aria-level="3" class="paywall headg-h3">15. “<a href=">Apollo 10 1/2: A Space Age Childhood</a>”</div><p class="paywall">Richard Lklater’s quasi-tobgraphil animated fantasy, about a fourth grar who’s reced by <em class="small">NASA</em>, re-creat fay life 1969, the suburbs of Hoton, lovg yet cril tail.</p><hr class="paywall"/><div role="headg" aria-level="3" class="paywall headg-h3">16. “<a href=">Framg Agn</a>”</div><p class="paywall">The filmmaker Chase Joynt’s redisvery of an amic archive of terviews wh genr-nonnformg subjects, nducted om 1957 to 1960, giv rise to a passnate and sightful view of trans liv, then and now, by way of reënactments and discsns wh the reënactors.</p><hr class="paywall"/><div role="headg" aria-level="3" class="paywall headg-h3">17. “<a href=">Ahed’s Knee</a>”</div><p class="paywall">The Israeli filmmaker Nadav Lapid furly dramatiz a dissint Israeli filmmaker’s md-bendg nontatn wh his past, and wh the untry’s current polics, durg a trip to a remote village to prent a film.</p><hr class="paywall"/><div role="headg" aria-level="3" class="paywall headg-h3">18. “<a href=">The Novelist’s Film</a>”</div><p class="paywall">Another of the three films by Hong released the U.S. this year, and also starrg Lee, this is the ironic tale of a bsque, impetuo wrer who stops wrg and cis to try moviemakg.</p><hr class="paywall"/><div role="headg" aria-level="3" class="paywall headg-h3">19. “<a href=">The Inspectn</a>”</div><p class="paywall">The passn of Elegance Bratton’s quasi-tobgraphil drama—about a twenty-five-year-old Black and gay man who, to pe homelsns, jos the Mar and endur persecutn basic trag—transforms his realistic style to a bearg of wns.</p><hr class="paywall"/><div role="headg" aria-level="3" class="paywall headg-h3">20. “<a href=">A Couple</a>”</div><p class="paywall">Sophia Tolstoy is the only onscreen character the documentary filmmaker Frerick Wiseman’s one-woman drama, which reli on the artifice of on-mera monologu to get at the polics of domtic life and the power stggl embedd the history of art.</p><hr class="paywall"/><div role="headg" aria-level="3" class="paywall headg-h3">21. “<a href=">Master</a>”</div><p class="paywall">The hidn racist background of a small New England liberal-arts llege returns wh a metaphysil force Mariama Diallo’s harrowg first feature, which expands s historil spe dargly far.</p><hr class="paywall"/><le-embed name="feature-flt" attrs="[object Object]" childTyp="image" ntentType="llout:feature-flt"><figure class="AssetEmbedWrapper-eVDQiB byBkf asset-embed"><div class="AssetEmbedAssetContaer-eJxoAx dBHGoQ asset-embed__asset-ntaer"><span class="SpanWrapper-umhxW kGxnNB rponsive-asset AssetEmbedRponsiveAsset-cXBNxi eCxVQK asset-embed__rponsive-asset"><picture class="RponsiveImagePicture-cWuUZO KhjZz AssetEmbedRponsiveAsset-cXBNxi eCxVQK asset-embed__rponsive-asset rponsive-image rponsive-image--expandable"><noscript><img alt="Still om The Tsugua Diari showg people stg around a circle" class="RponsiveImageContaer-eybHBd fptoWY rponsive-image__image" src=" srcSet=" 120w, 240w, 320w, 640w, 960w, 1280w, 1600w" siz="100vw"/></noscript></picture></span></div><div class="CaptnWrapper-jSZdqE iTuhkZ ptn AssetEmbedCaptn-fNQBPI fmQnYP asset-embed__ptn"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ CaptnCred-ejegDm iUEiRd iicloT jbIJNS ptn__cred">Photograph urty KimStim</span></div></figure></le-embed><div role="headg" aria-level="3" class="paywall headg-h3">22. “<a href=">The Tsugua Diari</a>”</div><p class="paywall">This drama, directed by Mreen Fazeniro and Miguel Gom, about a movie st and crew workg unr the strs of their panmic bubble ral Portugal, is the most origal fictnal film to date about the age of <em class="small">COVID</em>, not least bee of s day-by-day chronologil stcture, which ns backward.</p><hr class="paywall"/><div role="headg" aria-level="3" class="paywall headg-h3">23. “<a href=">Beba</a>”</div><p class="paywall">Rebe Huntt’s first feature is a documentary self-portra, which she disvers that her parents’ liv and her Manhattan upbrgg are separable om lol and global polil currents and fds that on-mera terviews wh fay members are ght wh unrolved nflicts.</p><hr class="paywall"/><div role="headg" aria-level="3" class="paywall headg-h3">24. “<a href=">Clytaemntra</a>”</div><p class="paywall">Ougie Pak’s tense drama of artistic myths and reali, about a South Korean theatre pany rehearsg a productn of “Agamemnon” a rented hoe Greece, is centered on a young actrs who endur emotnal abe om a charismatic male director.</p><hr class="paywall"/><div role="headg" aria-level="3" class="paywall headg-h3">25. “<a href=">RRR</a>”</div><p class="paywall">This historil actn-fantasy (the tle stands for “Rise Roar Revolt”), directed by S. S. Rajamouli, imag the enunter and shared bat, the neteen-twenti, of two real-life Indian revolutnary lears, wh rults that are as phantasmagoril as they are melodramatic.</p><hr class="paywall"/><div role="headg" aria-level="3" class="paywall headg-h3">26. “<a href=">Introductn</a>”</div><p class="paywall">The third new film of Hong’s to be released 2022 is a romantic drama of an astonishg sparens, about a young South Korean man who follows his girliend to Germany. What emerg are irrencilable differenc between parents and children, and a grim over-all visn of generatnal nflict.</p><hr class="paywall"/><le-embed name="feature-flt" attrs="[object Object]" childTyp="image" ntentType="llout:feature-flt"><figure class="AssetEmbedWrapper-eVDQiB byBkf asset-embed"><div class="AssetEmbedAssetContaer-eJxoAx dBHGoQ asset-embed__asset-ntaer"><span class="SpanWrapper-umhxW kGxnNB rponsive-asset AssetEmbedRponsiveAsset-cXBNxi eCxVQK asset-embed__rponsive-asset"><picture class="RponsiveImagePicture-cWuUZO KhjZz AssetEmbedRponsiveAsset-cXBNxi eCxVQK asset-embed__rponsive-asset rponsive-image rponsive-image--expandable"><noscript><img alt="Still om A New Old Play showg people stg and lyg down a dark room" class="RponsiveImageContaer-eybHBd fptoWY rponsive-image__image" src=" srcSet=" 120w, 240w, 320w, 640w, 960w, 1280w, 1600w" siz="100vw"/></noscript></picture></span></div><div class="CaptnWrapper-jSZdqE iTuhkZ ptn AssetEmbedCaptn-fNQBPI fmQnYP asset-embed__ptn"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ CaptnCred-ejegDm iUEiRd iicloT jbIJNS ptn__cred">Photograph urty Is Films</span></div></figure></le-embed><div role="headg" aria-level="3" class="paywall headg-h3">27. “<a href=">A New Old Play</a>”</div><p class="paywall">The sty of members of a Che theatre troupe, om the neteen-twenti and the Send World War to the Cultural Revolutn—and even to the afterlife—is showsed, wh wry theatril artifice, Qiu Jngjng’s allive approach to the history of twentieth-century Cha.</p><hr class="paywall"/><div role="headg" aria-level="3" class="paywall headg-h3">28. “<a href=">EO</a>”</div><p class="paywall">In the octogenarian Jerzy Skolimowski’s dac remake of Robert Brson’s 1966 classic, “<a href=">Au Hasard Balthazar</a>,” a donkey’s journeys through Poland and Italy provi a diagnostic cross-sectn of human celty and passn.</p><hr class="paywall"/><div role="headg" aria-level="3" class="paywall headg-h3">29. “<a href=">Dcendant</a>”</div><p class="paywall">Margaret Brown’s <a href=">documentary</a> trac the disvery, Mobile, Alabama, of the submerged wreckage of the last-known ship that brought ptive Ains to the Uned Stat, 1860, and the town’s endurg legacy of enslavement and Jim Crow-era exclns and discrimatns.</p><hr class="paywall"/><le-embed name="feature-flt" attrs="[object Object]" childTyp="image" ntentType="llout:feature-flt"><figure class="AssetEmbedWrapper-eVDQiB byBkf asset-embed"><div class="AssetEmbedAssetContaer-eJxoAx dBHGoQ asset-embed__asset-ntaer"><span class="SpanWrapper-umhxW kGxnNB rponsive-asset AssetEmbedRponsiveAsset-cXBNxi eCxVQK asset-embed__rponsive-asset"><picture class="RponsiveImagePicture-cWuUZO KhjZz AssetEmbedRponsiveAsset-cXBNxi eCxVQK asset-embed__rponsive-asset rponsive-image rponsive-image--expandable"><noscript><img alt="Still om Marcel the Shell wh Sho On showg Marcel on a rerr" class="RponsiveImageContaer-eybHBd fptoWY rponsive-image__image" src=" srcSet=" 120w, 240w, 320w, 640w, 960w, 1280w, 1600w" siz="100vw"/></noscript></picture></span></div><div class="CaptnWrapper-jSZdqE iTuhkZ ptn AssetEmbedCaptn-fNQBPI fmQnYP asset-embed__ptn"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ CaptnCred-ejegDm iUEiRd iicloT jbIJNS ptn__cred">Photograph urty A24</span></div></figure></le-embed><div role="headg" aria-level="3" class="paywall headg-h3">30. “<a href=">Marcel the Shell wh Sho On</a>”</div><p class="paywall">The clever, tenr, quietly melancholy feature-length expansn of the Web seri by Jenny Slate and <a href=">Dean Fleischer Camp</a> is a metafictnal blend of animatn and live actn, which Camp (playg himself) enunters the livg shell (voiced by Slate) and cis to make a film about him. ♦</p></div></div></div></div></div><div class="GridWrapper-cAzTTK eRggVV grid grid-margs grid-ems-0 PaywallInleBarrierWhWrapperGrid-fyrGfS jyGBoi"><div class="GridItem-buujkM kHPPIF grid--em"><div class="body body__le-barrier article__body 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class="RponsiveImageContaer-eybHBd fptoWY rponsive-image__image" src="></picture></span></a></div><div class="ContributorBContent-ubQdr jZTSSi"><div class="ContributorBHear-ledood XOIEx"></div><div class="ContributorBB-fBolsO giFhKz"><a href="/ntributors/richard-brody">Richard Brody</a> began wrg for The New Yorker 1999. He wr about movi his blog, <a href=">The Front Row</a>. He is the thor of <a href=">“Everythg Is Cema: The Workg Life of Jean-Luc Godard</a>.”</div><div class="ContributorBFooter-brqDlv ezUmSv"></div></div></div></div></div></div></div><div class="RowWrapper-UmqTg HEhan"><div class="GridWrapper-cAzTTK eRggVV grid grid-margs grid-ems-0"><div class="GridItem-buujkM kHPPIF grid--em"><div data-ttid="TagCloudWrapper" class="TagCloudWrapper-gGgndx ctyZyK ContentFooterTagCloud-krQmRG ZLGh"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ TagCloudSectnHear-cOforY iUEiRd bPyAoD kQQRmu">More:</span><a href="/tag/films" class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BaseLk-eNWuiM TagCloudLk-kvjZFu iUEiRd ggMZaT gFob hIhJOI"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ TagCloudName-eAUnLd iUEiRd gwIVBQ bUkXwu">Films</span></a><a href="/tag/movi" class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BaseLk-eNWuiM TagCloudLk-kvjZFu iUEiRd ggMZaT gFob hIhJOI"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ TagCloudName-eAUnLd iUEiRd gwIVBQ bUkXwu">Movi</span></a><a href="/tag/terence-davi" class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BaseLk-eNWuiM TagCloudLk-kvjZFu iUEiRd ggMZaT gFob hIhJOI"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ TagCloudName-eAUnLd iUEiRd gwIVBQ bUkXwu">Terence Davi</span></a><a href="/tag/jordan-peele" class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BaseLk-eNWuiM TagCloudLk-kvjZFu iUEiRd ggMZaT gFob hIhJOI"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ TagCloudName-eAUnLd iUEiRd gwIVBQ bUkXwu">Jordan Peele</span></a><a href="/tag/jam-gray" class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BaseLk-eNWuiM TagCloudLk-kvjZFu iUEiRd ggMZaT gFob hIhJOI"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ TagCloudName-eAUnLd iUEiRd gwIVBQ bUkXwu">Jam Gray</span></a><a href="/tag/claire-nis" class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BaseLk-eNWuiM TagCloudLk-kvjZFu iUEiRd ggMZaT gFob hIhJOI"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ TagCloudName-eAUnLd iUEiRd gwIVBQ bUkXwu">Claire Denis</span></a><a href="/tag/hong-sangsoo" class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BaseLk-eNWuiM TagCloudLk-kvjZFu iUEiRd ggMZaT gFob hIhJOI"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ TagCloudName-eAUnLd iUEiRd gwIVBQ bUkXwu">Hong Sangsoo</span></a><a href="/tag/jafar-panahi" class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BaseLk-eNWuiM TagCloudLk-kvjZFu iUEiRd ggMZaT gFob hIhJOI"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ TagCloudName-eAUnLd iUEiRd gwIVBQ bUkXwu">Jafar Panahi</span></a><a href="/tag/david-o-ssell" class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BaseLk-eNWuiM TagCloudLk-kvjZFu iUEiRd ggMZaT gFob hIhJOI"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ TagCloudName-eAUnLd iUEiRd gwIVBQ bUkXwu">David O. 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class="RponsiveImagePicture-cWuUZO dUOtEa SummaryItemRponsiveAsset-hjGIGg egpoQR summary-em__image rponsive-image"><noscript><source media="(max-width: 767px)" srcSet=" 120w, 240w, 320w, 640w" siz="100vw"/><source media="(m-width: 768px)" srcSet=" 120w, 240w, 320w" siz="100vw"/><img alt="Wanda Syk Is Takg It All In" class="RponsiveImageContaer-eybHBd fptoWY rponsive-image__image" src="></noscript></picture></div></div></span></a></div><div class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ SummaryItemDek-CRfsi iUEiRd jxOIpm cPtisA summary-em__k">The actor and edian on what’s at stake the wrers’ strike, why polics are central to her standup, and how the scene has changed durg her thirty-pl-year reer.</div><div class="SummaryItemByleWrapper-boCfbi hYsZi summary-em__byle-date-in"><div class="SummaryItemBaseByle-fFbXkY cgDBtc summary-em__byle"><div class="summary-em__byle__ntent"><div data-ttid="BylWrapper" class="BylWrapper-KIudk irTIfE byl"><p class="ByleWrapper-jWHrLH dSEWiO byle byl__byle" data-ttid="ByleWrapper" emProp="thor" emType="><span emProp="name" class="ByleNamWrapper-jbHncj fuDQVo"><span data-ttid="ByleName" class="ByleName-kwmrLn cYaBaU byle__name"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BylePreamble-iJolpQ iUEiRd jslZfG gnILss byle__preamble">By </span>Inkoo Kang</span></span></p></div></div></div></div></div></div><div class="SummaryItemWrapper-iwvBff hlYhBH summary-em summary-em--ARTICLE summary-em--no-in summary-em--text-align-left summary-em--layout-placement-text-below-sktop-only summary-em--layout-posn-image-right summary-em--layout-proportns-33-66 summary-em--si-by-si-align-center summary-em--si-by-si-image-right-mobile-false summary-em--standard SummaryCollectnGridSummaryItem-WColm fvDIAb" role="button" tabx="0"><div class="SummaryItemAssetContaer-gwhFFH VOyg summary-em__asset-ntaer"><a class="SummaryItemImageLk-dshqxb USLvL summary-em__image-lk summary-em-trackg__image-lk" href=" aria-hidn="te" tabx="-1" data-ponent-type="recirc-river" data-recirc-id="em-image-2" data-recirc-pattern="summary-em" target="_self"><span class="SpanWrapper-umhxW kGxnNB rponsive-asset SummaryItemRponsiveAsset-hjGIGg egpoQR summary-em__image"><div data-tt="aspect-rat-ntaer" class="AspectRatContaer-bJHpJz jMoLpX"><div class="aspect-rat--overlay-ntaer"><picture class="RponsiveImagePicture-cWuUZO dUOtEa SummaryItemRponsiveAsset-hjGIGg egpoQR summary-em__image rponsive-image"><noscript><source media="(max-width: 767px)" srcSet=" 120w, 240w, 320w, 640w" siz="100vw"/><source media="(m-width: 768px)" srcSet=" 120w, 240w, 320w" siz="100vw"/><img alt="Why Emma Seligman Decid to Make a Movie About a Queer Fight Club" class="RponsiveImageContaer-eybHBd fptoWY rponsive-image__image" src="></noscript></picture></div></div></span></a></div><div class="SummaryItemContent-eiDYMl ldWYvC summary-em__ntent"><div class="RubricWrapper-dKmCNX kImuKS bric bric--disvery SummaryItemRubric-dguGKN fYiFyD summary-em__bric"><span class="RubricName-fVtemz cLxcNi">The New Yorker Interview</span></div><a class="SummaryItemHedLk-civM cZPaWG summary-em-trackg__hed-lk summary-em__hed-lk" data-ponent-type="recirc-river" data-recirc-id="em-hed-2" data-recirc-pattern="summary-em" href=" target="_self"><div class="SummaryItemHedBase-hiFYpQ iIjKeM summary-em__hed" data-ttid="SummaryItemHed">Why Emma Seligman Decid to Make a Movie About a Queer Fight Club</div></a><div class="SummaryItemAssetContaer-gwhFFH VOyg summary-em__asset-ntaer"><a class="SummaryItemImageLk-dshqxb USLvL summary-em__image-lk summary-em-trackg__image-lk" href=" aria-hidn="te" tabx="-1" data-ponent-type="recirc-river" data-recirc-id="em-image-2" data-recirc-pattern="summary-em" target="_self"><span class="SpanWrapper-umhxW kGxnNB rponsive-asset SummaryItemRponsiveAsset-hjGIGg egpoQR summary-em__image"><div data-tt="aspect-rat-ntaer" class="AspectRatContaer-bJHpJz jMoLpX"><div class="aspect-rat--overlay-ntaer"><picture class="RponsiveImagePicture-cWuUZO dUOtEa SummaryItemRponsiveAsset-hjGIGg egpoQR summary-em__image rponsive-image"><noscript><source media="(max-width: 767px)" srcSet=" 120w, 240w, 320w, 640w" siz="100vw"/><source media="(m-width: 768px)" srcSet=" 120w, 240w, 320w" siz="100vw"/><img alt="Why Emma Seligman Decid to Make a Movie About a Queer Fight Club" class="RponsiveImageContaer-eybHBd fptoWY rponsive-image__image" src="></noscript></picture></div></div></span></a></div><div class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ SummaryItemDek-CRfsi iUEiRd jxOIpm cPtisA summary-em__k">The director of “Shiva Baby” and “Bottoms” on di, male validatn, third-wave femism, and whether you need to be a dick to be succsful.</div><div class="SummaryItemByleWrapper-boCfbi hYsZi summary-em__byle-date-in"><div class="SummaryItemBaseByle-fFbXkY cgDBtc summary-em__byle"><div class="summary-em__byle__ntent"><div data-ttid="BylWrapper" class="BylWrapper-KIudk irTIfE byl"><p class="ByleWrapper-jWHrLH dSEWiO byle byl__byle" data-ttid="ByleWrapper" emProp="thor" emType="><span emProp="name" class="ByleNamWrapper-jbHncj fuDQVo"><span data-ttid="ByleName" class="ByleName-kwmrLn cYaBaU byle__name"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BylePreamble-iJolpQ iUEiRd jslZfG gnILss byle__preamble">By </span>Naomi Fry</span></span></p></div></div></div></div></div></div><div class="SummaryItemWrapper-iwvBff hlYhBH summary-em summary-em--ARTICLE summary-em--no-in summary-em--text-align-left summary-em--layout-placement-text-below-sktop-only summary-em--layout-posn-image-right summary-em--layout-proportns-33-66 summary-em--si-by-si-align-center summary-em--si-by-si-image-right-mobile-false summary-em--standard SummaryCollectnGridSummaryItem-WColm fvDIAb" role="button" tabx="0"><div class="SummaryItemAssetContaer-gwhFFH VOyg summary-em__asset-ntaer"><a class="SummaryItemImageLk-dshqxb USLvL summary-em__image-lk summary-em-trackg__image-lk" href=" aria-hidn="te" tabx="-1" data-ponent-type="recirc-river" data-recirc-id="em-image-3" data-recirc-pattern="summary-em" target="_self"><span class="SpanWrapper-umhxW kGxnNB rponsive-asset SummaryItemRponsiveAsset-hjGIGg egpoQR summary-em__image"><div data-tt="aspect-rat-ntaer" class="AspectRatContaer-bJHpJz jMoLpX"><div class="aspect-rat--overlay-ntaer"><picture class="RponsiveImagePicture-cWuUZO dUOtEa SummaryItemRponsiveAsset-hjGIGg egpoQR summary-em__image rponsive-image"><noscript><source media="(max-width: 767px)" srcSet=" 120w, 240w, 320w, 640w" siz="100vw"/><source media="(m-width: 768px)" srcSet=" 120w, 240w, 320w" siz="100vw"/><img alt="Breakg the Fourth Wall: Adrian Tome on “Shortgs”" class="RponsiveImageContaer-eybHBd fptoWY rponsive-image__image" src="></noscript></picture></div></div></span></a></div><div class="SummaryItemContent-eiDYMl ldWYvC summary-em__ntent"><div class="RubricWrapper-dKmCNX kImuKS bric bric--disvery SummaryItemRubric-dguGKN fYiFyD summary-em__bric"><span class="RubricName-fVtemz cLxcNi">Culture Dk</span></div><a class="SummaryItemHedLk-civM cZPaWG summary-em-trackg__hed-lk summary-em__hed-lk" data-ponent-type="recirc-river" data-recirc-id="em-hed-3" data-recirc-pattern="summary-em" href=" target="_self"><div class="SummaryItemHedBase-hiFYpQ iIjKeM summary-em__hed" data-ttid="SummaryItemHed">Breakg the Fourth Wall: Adrian Tome on “Shortgs”</div></a><div class="SummaryItemAssetContaer-gwhFFH VOyg summary-em__asset-ntaer"><a class="SummaryItemImageLk-dshqxb USLvL summary-em__image-lk summary-em-trackg__image-lk" href=" aria-hidn="te" tabx="-1" data-ponent-type="recirc-river" data-recirc-id="em-image-3" data-recirc-pattern="summary-em" target="_self"><span class="SpanWrapper-umhxW kGxnNB rponsive-asset SummaryItemRponsiveAsset-hjGIGg egpoQR summary-em__image"><div data-tt="aspect-rat-ntaer" class="AspectRatContaer-bJHpJz jMoLpX"><div class="aspect-rat--overlay-ntaer"><picture class="RponsiveImagePicture-cWuUZO dUOtEa SummaryItemRponsiveAsset-hjGIGg egpoQR summary-em__image rponsive-image"><noscript><source media="(max-width: 767px)" srcSet=" 120w, 240w, 320w, 640w" siz="100vw"/><source media="(m-width: 768px)" srcSet=" 120w, 240w, 320w" siz="100vw"/><img alt="Breakg the Fourth Wall: Adrian Tome on “Shortgs”" class="RponsiveImageContaer-eybHBd fptoWY rponsive-image__image" src="></noscript></picture></div></div></span></a></div><div class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ SummaryItemDek-CRfsi iUEiRd jxOIpm cPtisA summary-em__k">The artist discs feelg—and not feelg—like his former selv, and adaptg his ics for the screen.</div><div class="SummaryItemByleWrapper-boCfbi hYsZi summary-em__byle-date-in"><div class="SummaryItemBaseByle-fFbXkY cgDBtc summary-em__byle"><div class="summary-em__byle__ntent"><div data-ttid="BylWrapper" class="BylWrapper-KIudk irTIfE byl"><p class="ByleWrapper-jWHrLH dSEWiO byle byl__byle" data-ttid="ByleWrapper" emProp="thor" emType="><span emProp="name" class="ByleNamWrapper-jbHncj fuDQVo"><span data-ttid="ByleName" class="ByleName-kwmrLn cYaBaU byle__name"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BylePreamble-iJolpQ iUEiRd jslZfG gnILss byle__preamble">By </span>Françoise Mouly</span></span></p></div></div></div></div></div></div><div class="SummaryItemWrapper-iwvBff hlYhBH summary-em summary-em--ARTICLE summary-em--no-in summary-em--text-align-left summary-em--layout-placement-text-below-sktop-only summary-em--layout-posn-image-right summary-em--layout-proportns-33-66 summary-em--si-by-si-align-center summary-em--si-by-si-image-right-mobile-false summary-em--standard SummaryCollectnGridSummaryItem-WColm fvDIAb" role="button" tabx="0"><div class="SummaryItemAssetContaer-gwhFFH VOyg summary-em__asset-ntaer"><a class="SummaryItemImageLk-dshqxb USLvL summary-em__image-lk summary-em-trackg__image-lk" href=" aria-hidn="te" tabx="-1" data-ponent-type="recirc-river" data-recirc-id="em-image-4" data-recirc-pattern="summary-em" target="_self"><span class="SpanWrapper-umhxW kGxnNB rponsive-asset SummaryItemRponsiveAsset-hjGIGg egpoQR summary-em__image"><div data-tt="aspect-rat-ntaer" class="AspectRatContaer-bJHpJz jMoLpX"><div class="aspect-rat--overlay-ntaer"><picture class="RponsiveImagePicture-cWuUZO dUOtEa SummaryItemRponsiveAsset-hjGIGg egpoQR summary-em__image rponsive-image"><noscript><source media="(max-width: 767px)" srcSet=" 120w, 240w, 320w, 640w" siz="100vw"/><source media="(m-width: 768px)" srcSet=" 120w, 240w, 320w" siz="100vw"/><img alt="Jamie Quatro on the Dual Lens of Memory" class="RponsiveImageContaer-eybHBd fptoWY rponsive-image__image" src="></noscript></picture></div></div></span></a></div><div class="SummaryItemContent-eiDYMl ldWYvC summary-em__ntent"><div class="RubricWrapper-dKmCNX kImuKS bric bric--disvery SummaryItemRubric-dguGKN fYiFyD summary-em__bric"><span class="RubricName-fVtemz cLxcNi">This Week Fictn</span></div><a class="SummaryItemHedLk-civM cZPaWG summary-em-trackg__hed-lk summary-em__hed-lk" data-ponent-type="recirc-river" data-recirc-id="em-hed-4" data-recirc-pattern="summary-em" href=" target="_self"><div class="SummaryItemHedBase-hiFYpQ iIjKeM summary-em__hed" data-ttid="SummaryItemHed">Jamie Quatro on the Dual Lens of Memory</div></a><div class="SummaryItemAssetContaer-gwhFFH VOyg summary-em__asset-ntaer"><a class="SummaryItemImageLk-dshqxb USLvL summary-em__image-lk summary-em-trackg__image-lk" href=" aria-hidn="te" tabx="-1" data-ponent-type="recirc-river" data-recirc-id="em-image-4" data-recirc-pattern="summary-em" target="_self"><span class="SpanWrapper-umhxW kGxnNB rponsive-asset SummaryItemRponsiveAsset-hjGIGg egpoQR summary-em__image"><div data-tt="aspect-rat-ntaer" class="AspectRatContaer-bJHpJz jMoLpX"><div class="aspect-rat--overlay-ntaer"><picture class="RponsiveImagePicture-cWuUZO dUOtEa SummaryItemRponsiveAsset-hjGIGg egpoQR summary-em__image rponsive-image"><noscript><source media="(max-width: 767px)" srcSet=" 120w, 240w, 320w, 640w" siz="100vw"/><source media="(m-width: 768px)" srcSet=" 120w, 240w, 320w" siz="100vw"/><img alt="Jamie Quatro on the Dual Lens of Memory" class="RponsiveImageContaer-eybHBd fptoWY rponsive-image__image" src="></noscript></picture></div></div></span></a></div><div class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ SummaryItemDek-CRfsi iUEiRd jxOIpm cPtisA summary-em__k">The thor discs “Yogurt Days,” her story om the latt issue of the magaze.</div><div class="SummaryItemByleWrapper-boCfbi hYsZi summary-em__byle-date-in"><div class="SummaryItemBaseByle-fFbXkY cgDBtc summary-em__byle"><div class="summary-em__byle__ntent"><div data-ttid="BylWrapper" class="BylWrapper-KIudk irTIfE byl"><p class="ByleWrapper-jWHrLH dSEWiO byle byl__byle" data-ttid="ByleWrapper" emProp="thor" emType="><span emProp="name" class="ByleNamWrapper-jbHncj fuDQVo"><span data-ttid="ByleName" class="ByleName-kwmrLn cYaBaU byle__name"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BylePreamble-iJolpQ iUEiRd jslZfG gnILss byle__preamble">By </span>Crsida 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