FEATURES
Client 9
By Amy Taubin
Alex Gibney’s new doc delves into Eliot Spitzer’s public virtues and private vice
Paul Haggis
By Scott Foundas
The director of The Next Three Days has a lot of explaining to do
WHITE MATERIAL
By Amy Taubin
Claire Denis ponders colonial denial in strife-torn Africa
ISABELLE HUPPERT
By Joan Dupont
The star of White Material talks about her risk-taking career
Somewhere
By Nicolas Rapold
How close to home is Sofia Coppola’s father-daughter story of Hollywood malaise?
Philippe Grandrieux
By Haden Guest
The dark visions of a filmmaker pushing to the limits of perception—and beyond
Alejandro González Iñárritu
By Glenn Kenny
The implacable march of the New Humanism continues with the overwrought and portentous Biutiful
Henri-Georges Clouzot’s Inferno
By Richard Combs
How one project went over the edge—twice
DEPARTMENTS
EDITOR’S LETTER
OPENING SHOTS
News, Hot Property: Cristi Puiu’s Aurora by Chris Chang, Alex Cox’s 10,000 Ways to Die, Site Specifics: Chris Marker and Second Life Jesse P. Finnegan, The Trivial Top 20: Best Films Directed by Claude Chabrol
Fade Out
Film Comment’s first editor Gordon Hitchens remembered by Nadine Covert
The Accidental AuteUrist
Claude Chabrol by Andrew Sarris
Sound & Vision
Chico & Rita by Gary Giddins & Vik Muniz by Chris Chang
Encore
William Dieterle’s The Last Flight
Festivals
Venice by Olaf Möller; Locarno by Chris Darke; Toronto by Mark Olsen, Nicole Armour, and Gavin Smith; Reykjavik by Laura Kern; Vancouver by Robert Koehler
Screenings
The King’s Speech by Scott Foundas; 127 Hours by Paul Brunick; Black Swan by José Teodoro; The Tempest by Violet Lucca
Short Takes
All Good Things & Blue Valentine by Laura Kern; The Illusionist by Nicolas Rapold; Night Catches Us by Nicolas Rapold; Rare Exports: A Christmas Tale by Chris Chang; Tiny Furniture by Chris Chang
Home Movies
Bruce Baillie Vols. 1 & 2 by Chuck Stephens
Readings
Mark McElhatten on Radical Light: Alternative Film and Video in the San Francisco Bay Area, 1945-2000
