The Pedro Costa retrospective (September 25-October 4) at London’s Tate Modern was admirably curated. In addition to eight films by this brilliant Portuguese director, other works were screened to provide context, background, or food for thought

I remember seeing The H-ManThe H-Man on television one late evening in early adolescence; it was a silly specimen of an already cheesy 1950s genre, the “made in Japan” sci-fi/horror film . . . But a DVD explosion has caused The H-Man to mutate into a beautiful and genuinely harrowing new form:

“It’s a little early in the morning for explosions and war,” Butch (Bruce Willis) tells his girlfriend Fabienne (Maria de Medeiros) in Quentin Tarantino’s Pulp Fiction. He might be right; it depends on your idea of fun.

Claire Denis, Militant Politics in Cinema, True Blood.

READ: Fugitive Faces, Catcalling, Debating Inglourious Basterds, and The H-Man vs Liquid Human

It’s four decades now since those pretzel-logic days of possibility, transformation, rage, confusion, and defeat—and increasingly as they’re returned to us, it’s in the form that documentary currently prefers to dab at history: the immense flow of available news footage intercut with middle-aged talking heads placing themselves in careful safe accord with what all speaking take to be the story.

Lars von Trier’s Antichrist is dense, shocking, and thought-provoking. It is a film which calls for careful analysis. This web-exclusive exchange between Film Quarterly editor Rob White and philosopher Nina Power is meant as a first attempt at the in-depth debate that this major film deserves.