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May-June 2011

Woody Allen's Midnight in Paris, David Bordwell asks why cinephiles and academics can't just get along, Andrew Sarris on Octubre, reviews of Beginners, 13 Assassins and L'Amour fou, Page One: Inside The New York Times

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City of Life and Death
By Michael Berry
Lu Chuan’s wrenching and controversial account of the Japanese occupation of Nanking

Woody Allen
By Kent Jones
Owen Wilson finds his way back to the City of Lights’ Golden Age in Midnight in Paris. Plus: an expanded Woody Allen interview

Academics vs. Critics
By David Bordwell
How to end the standoff between Grand Theory and Cinephile Criticism

Michael Winterbottom
By Chris Darke
England’s prolific chameleon eludes definition once again with The Trip

Page One
By Stuart Klawans
A behind-the-scenes look at The New York Times finds journalism at the crossroads

The Clock
By Chris Petit and Iain Sinclair
A free-associative correspondence inspired by Christian Marclay’s mesmerising film installation



News, Hot Property: Daniel Cockburn’s You Are Here, Alex Cox’s 10,000 Ways to Die: Henry King’s The Gunfighter, Site Specifics: The Johnny Cash Project, Trivial Top 20®: Best One-Word Titles (Pre-1960), Jodie Foster’s Guilty Pleasures

The Accidental Auteur
Andrew Sarris on Daniel and Diego Vega’s Octubre

Sound & Vision
Claire Denis and Tindersticks by Jim Supanick and Jim Campbell by Chris Chang

Brief Encounters
Werner Herzog by Harlan Jacobson

On Netflix by Roger Smith

Alberto Cavalcanti’s Went the Day Well? by Graham Fuller

Berlin by Olaf Möller; South by Southwest by Mark Asch, Paul Brunick

13 Assassins by Tom Mes; !Women Art Revolution by Elisabeth Subrin; Beginners by Amy Taubin; L’Amour fou by Nathan Lee; Road to Nowhere by Nicolas Rapold

Short Takes
Buck by Chris Norris; Kidnapped by Laura Kern; A Serbian Film by Laura Kern; Submarine by Nicolas Rapold; United Red Army by Nicolas Rapold; Viva Riva! by Chris Chang

Home Movies
Larks on a String by Scott Foundas; Todd Haynes’ Mildred Pierce by Paul Brunick

Scott Foundas on Minding Movies: Observations on the Art, Craft, and Business of Filmmaking