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On the screen, little NeIa nestles in the arms of Father Christmas, revealed, when she plucks off his fake beard, to be her actual father. Not only are Eugen and Angela on the brink of moving to the States (inspired by a poster of the Twin Towers in their bedroom), but Flo's wife pesters him to attend Flo's birthday as Mickey Mouse.

An interview with David Cronenberg aboutA Dangerous Method, in which the director discusses his drama about the history of psychoanalysis in terms of period detail, acting, cinematography, history, and the body.

Kevin Jerome Everson has made more than 131 shorts and nine features—so far—exploring the intersections of work and geography among African Americans and other people of African descent. Often mining events from his own life, local history, and vignettes from his actors’ lives, Everson scripts ordinary behavior and dialogue into theatrical gestures. In reediting or restaging personal stories or archival footage, the prosaic becomes specific and distinct. Everson looks for “frames that connect the necessity and the coincidence,” where “necessity” is the plot or character driving the film, “coincidence” the scenes that seem accidental or are lifted from found footage. Ratner engages Everson on his oblique approach that prizes his subjects’ dignity over his viewers’ comfort. At a time when weightless spectacle dominates imagery, Everson responds to her questions and to his craft with nuanced gravity.

An interview with László Nemes about Son of Saul, in which the director discusses his Auschwitz-set drama about a Sonderkommando's quest to bury a boy he asserts is his son. The discussion touches on the challenges of making a film from a single perspective; Nemes's aim to undo standard postwar views of the Holocaust; and his wariness of the conquest of filmmaking by television.

Ratner interviews Swedish writer-director Roy Andersson about how he keeps track of the scenes he collects. Andersson tells whether he choreographs his actors' movements. He also discusses his films Pigeon and Tomorrow Is Another Day, and his another project.

An essay on and interview with Roy Andersson about A Pigeon Sat on a Branch Reflecting on Existence in which the writer-director discusses the final installment of his Living Trilogy in terms of his use of artifice, of non-professional actors, of merciless lighting, cinema’s relation to other art forms, realism versus abstraction, Swedish and global history, and anachronism.

An interview with Eugène Green about La Sapienza, in which the director discusses his drama concerning an architect’s renewal through an excursion to Francesco Borromini’s masterworks in terms of natural light, Baroque culture, using absence to suggest presence, and the importance of a sense of belonging.

Ratner interviews filmmaker Lisandro Alonso. Among other things, Alonso talks about the film Jauja.

Ratner interviews screenwriter and film director Maren Ade regarding her semi-autobiographical film, Toni Erdmann (2016). Among other things, Ade shares how her travels in Romania shape her film's story.