FEATURES
HIDDEN
By Paul Arthur
The paranoid universe of Michael Haneke
SCORSESE’S DYLAN
By Amy Taubin
One great American artist scrutinizes another in No Direction Home
ROBERT WISE
By Richard Combs
Appreciating a late occasional auteur
PETER LORRE
The Face by Elfriede Jelinek
The Voice by J. Hoberman
MORGAN FISHER
By Jim Supinack
On the great structural materialist
INNOCENCE
By Vivian Sobchack
Lucile Hadzihalilovic’s mesmerizing dreamwork
THE CINEMA OF EXTREMITY
By Howard Hampton
Over the edge: from The Furies to Pistol Opera
DEPARTMENTS
EDITOR’S LETTER
OPENING SHOTS
News, Distributor Wanted: Andrew Bujalski’s Mutual Appreciation by Amy Taubin, Guy Maddin’s Jolly Corner: Goto, l’île d’amour, Guilty Pleasures by Errol Morris, Letters
JOURNAL
Czech Cinema by Zdenek Holy
CRITICS’ CHOICE
Eight critics rate 25 new releases
SOUND & VISION
Ennio Morricone by Chris Chang & Olivo Barbieri by Paul Arthur
OLAF’S WORLD
Chor Yuen by Olaf Möller
FESTIVALS
Venice by Olaf Möller; Toronto by Mark Olsen, Nicole Armour, Gavin Smith
SCREENINGS
Unseen Cinema by Brian Frye, Brokeback Mountain by Harlan Jacobson, Breakfast on Pluto by Nathan Lee, Good Morning, Night by Richard Combs, Walk the Line by Chris Norris
READINGS
Greta Garbo by Guy Maddin
IN BRIEF
Film as a Subversive Art by Chris Chang, Roman Polanski: Interviews by Laura Kern, The Cinema, or The Imaginary Man by Henry K. Miller
HOME MOVIES
Millions by Gavin Smith, Batman Begins by Kent Jones, Rebel Samurai: Sixties Swordplay Classics by Chuck Stephens, Paradise Lost: The Child Murders at Robin Hood Hills by Paul Arthur, Sins of the Fleshapoids by Guy Maddin, Bad Luck by Eliza Subotowicz
CLOSING SHOTS
Who’s who at recent Film Society events
ONLINE EXCLUSIVES
Interview: Alan Bishop
By Chris Chang
Alan Bishop, founder of the Sun City Girls and compiler of Ennio Morricone: Crime and Dissonance discusses the discs with Chris Chang
