Here it is, a piece I've been working on for months and couldn't wait to share. Immensely grateful to the @NotebookMUBI family for letting me write on (and draw!) Don DeLillo, and explore his sacramental relationship with cinema. Enjoy--& read Underworld!

Artists do not have a “prime” like athletes do, but creativity isn’t fixed; it adjusts to different life seasons and ways of being in the world. For @TheFilmStage, I wrote about a film that understands this all too well: Kent Jones’s luminous LATE FAME.

THE MASTERMIND (2025)

Thrilled to be back at the Viennale for another terrific retrospective—on Jean Epstein, no less—that will kick off today with THE FALL OF THE HOUSE OF USHER, accompanied by a live orchestra. More thoughts on the retro for @mubinotebook soon!

For @reverse_shot, I wrote about Bi Gan’s RESURRECTION, a film so convinced of the medium’s power to entrance and disturb you it makes the phrase “a love letter to cinema” hopelessly and frustratingly reductive. Now screening at @TheNYFF!

"All we have left now is civil disobedience; everything else is just prosthetics." Pietro Marcello sits down with @LeonardoGoi to discuss DUSE, a biopic of a legendary theater actress that swells into a portrait of Italy on the brink of collapse. https://t.co/uSpE6OXfwA

Recently on Notebook:⁠ 🔹 Maxwell Paparella (@44getting) reports from #TIFF50 and #NYFF63; Daniel Kasman (@danielkasman) from @TIFF_NET; José Emilio González Calvillo, @CharlyneGenoud, and Jason Tan Liwag (@jaseybel) from @FilmFestLocarno 🔹 As this year’s @TheNYFF gets

Thrilled to be back on @reverse_shot and grateful for the chance to write about Oliver Laxe’s SIRAT, a film I feel a lot more ambivalent towards than I did when I first saw it in Cannes. In retrospect, his images are both grandiose and somewhat hollow:

"Well, if you really want to create something new, you have to disobey; if you want to create a new tradition, you have to escape from the old ones. I do not mean destroy but break free from them. Once you look at my films in this light, you might take them as a celebration of

Always a pleasure to speak with Pietro Marcello. For @mubinotebook, we talked about his @TheNYFF-bound DUSE, though the chat became a much larger convo around his antagonism toward the culture industry, his predilection for archives, & love for outcasts:

It's PTA's week/month/year, I get it, but Season 16 (!!) of On Cinema at the Cinema drops tomorrow and the fact that no one here seems to be talking about it is quite distressing.

For @FilmmakerMag, I spoke with Mark Jenkin about his stellar ROSE OF NEVADA—a Venice highlight you can catch at @TheNYFF. We talked about ghosts, foot(wear) fetish, shooting on film, and sticking to his DYI approach while working on a much bigger scale:

Argentinian filmmaker and El Pampero Cine cofounder Alejo Moguillansky sits down with @LeonardoGoi to discuss his latest film PIN DE FARTIE, a playful and subversive take on Samuel Beckett’s “Endgame.” https://t.co/w0RDhxFCDR

I’ll never grow tired of beating the drum for @ElPamperoCine. PIN DE FARTIE—“not an adaptation, but an anagram” of Beckett’s Endgame—was a Venice standout; for @mubinotebook, I spoke with Alejo Moguillansky ahead of the film’s @TheNYFF premiere:

Next up, @LeonardoGoi interviews Lucrecia Martel about her "Landmarks."

Meeting Lucrecia Martel was a career highlight, and this chat about her incendiary LANDMARKS is one of the interviews I'm most proud of. As she chewed on mate leaves, we spoke about drones, archives, and her shift to nonfiction. More at @FilmmakerMag:

Over at @FilmmakerMag, I wrote about #Venezia82, the bubble the festival can suck you into, and a few films that tried to burst it. On A HOUSE OF DYNAMITE, THE WIZARD OF THE KREMLIN, THE VOICE OF HIND RAJAB, ROSE OF NEVADA & more:

It's a wrap! In my last @mubinotebook Venice dispatch, I delved into some late standouts, from THE VOICE OF HIND RAJAB to THE TESTAMENT OF ANN LEE (via PIN DE FARTIE), wildly different films united by a belief in cinema's power to reinvent itself and us:

A tradition of ghouls, blue bloods, and despots continues on the Lido. Writing from this year's festival, @LeonardoGoi surveys the latest by Guillermo del Toro, Yorgos Lanthimos, Park Chan-wook, and Lucrecia Martel: https://t.co/cLUB9cOP63

Park Chan-wook leaving empty handed is a worthy ending to an edition that baffled me from start to finish. #Venezia82

“Oh shit”—Jim Jarmusch, September 6, 2025