FEATURES
A HISTORY OF VIOLENCE
By Amy Taubin
Cronenberg’s take on the American way
GOOD NIGHT, AND GOOD LUCK.
By Philip Lopate
Murrow, McCarthy and TV before the fall
The J-Word
By Harlan Jacobson
An interview with Good Night, and Good Luck screenwriter Grant Heslov
SHOCHIKU
By Chuck Stephens
The studio that gave us both Ozu and Oshima
Plus: highlights from the studio’s output
OWEN LAND
By Paul Arthur
The iconoclast’s iconoclast
FOREVER AMBER
By David Mamet
Hollywood’s summer slump explained
MR. AND MRS. SMITH
By Stanley Cavell
A remarriage at gunpoint
MIKIO NARUSE
By Chris Fujiwara
The Japanese master rediscovered
WINTER SOLDIER
By Rob Nelson
Vietnam Flashback
DEPARTMENTS
EDITOR’S LETTER
OPENING SHOTS
News, Distributor Wanted: Cecil Taylor: All the Notes by Gary Giddins, Guy Maddin’s Jolly Corner: Léolo, Guilty Pleasures by Rob Zombie
CRITICS’ CHOICE
Eight critics review 25 new releases
OLAF’S WORLD
João Cesar Monteiro by Olaf Möller
SOUND & VISION
Yan Ban XiL The 8 Model Works by Chris Chang & Chantal Akerman’s Installation To Walk Next to One’s Shoelaces in and Empty Fridge by Nathan Lee
JOURNAL
Current Cinema in Israel by Uri Klein
FESTIVALS
Los Angeles by Mark Olsen
SCREENINGS
The Squid and the Whale by Melissa Anderson, Paradise Now by Joumane Chahine, Dear Wendy by Wesley Morris, Proof by Michael Agger
READINGS
Agee: Two Volumes of Selected Film Writings, Journalism & Fiction by Robert Horton
IN BRIEF
Critic After Dark: A Review of Philippine Cinema by Olaf Möller, The Red & the White: The Cinema of People’s Poland by Eliza Subotowicz, The Most Typical Avant-Garde: History and Geography of Minor Cinemas in Los Angeles by Brian Frye
HOME MOVIES
Devil in the Flesh by Gavin Smith, Over the Edge by Chuck Stephens, Shirley Temple Collection by Guy Maddin, The Color of Lies by Richard Combs, He Who Hits First, hits Twice: The Urgent Cinema of Santiago Alvarez by Paul Arthur, Little Britain by Gavin Smith
CLOSING SHOTS
Who’s who at film society events
