The term “pure cinema” has become a bit diluted and simplistic over the years, but it’s difficult to think of a better use for it than with Jem Cohen’s Counting. Despite earning something skirting the edges of mainstream acclaim with his excellent 2013 narrative feature Museum Hours, his latest film sees him return to the documentary form, more closely resembling a sketchbook or diary. It also, thankfully, does not hold the viewer responsible for discerning larger patterns or themes, perfectly content to allow us the simple pleasure of observing life in a handful of locations (chiefly New York and Moscow, with stops in Istanbul, Porto, and Sharjah) across fifteen chapters. Something of a globetrotting, 21st century city symphony, Cohen explores the chaos of the modern world and the way countries act as institutions. But rather than contend himself purely with observation, Counting can become surprisingly intimate.