Over at Flicks, there's always new content coming through, but Aaron Yap's piece on Walter Hill is particularly worth a look.
During the NZFF, director Briar March led a conversation with Alyx Duncan (THE RED HOUSE) and Adam Luxton and Jeremy Dumble (WE FEEL FINE); the transcript is now online.
Whether or not you're familiar with the story of Kim's Video in New York, Karina Longworth's trip to Sicily for its bizarre coda is nonetheless a fascinating, compelling read.
Another high-profile documentary at Toronto you'll be hearing a lot about is THE ART OF KILLING, where Joshua Oppenheimer has gangsters involved in mass killings recreate their crimes on screen. Bryce Renninger's IndieWire interview with Oppenheimer gets into this uncomfortable tactic.
In addition to reporting on the Toronto International Film Festival and bashing Venice award-winning filmmaker Kim Ki-Duk, CinemaScope has also released the latest issue of their print magazine; excerpts are online, including Jonathan Rosenbaum's DVD column.
In the States, it's all about THE MASTER this week. It's tough to know what's a great article to read without ruining the film for you, but the very mild (negiligible, really) spoilers in Zach Baron's Grantland article are worth braving, as is John C. Richardson's Esquire profile of the director.
"Cinema doesn't have to be film; it has to be magic." A great sum-up in a great piece, as Manohla Dargis and A.O. Scott discuss the future of film and digital in cinema.
This week in VHS-related art, the repurposing of tape by Zilvinas Kempinas.
I've moved this week, so I haven't caught up with everything I've earmarked for reading, but I'll wrap by pointing these out before they're lost in the maelstrom: a discussion of fair-use law in re: ROOM 237, Lawrence Weschler interviewing Errol Morris, Michael Sicinski's preview of the Wavelengths experimental features program in Toronto, Bilge Ebiri on 25TH HOUR (and discussing his favorite films in podcast form, and Jen Yamato's interview with Melanie Lynskey about her new film, HELLO I MUST BE GOING.