Akiva Gottlieb writes for The Nation, the Los Angeles Times and Dissent, and lives in Ann Arbor, Michigan.
Hollywood’s wonkiest director hasn’t stopped working. He’s finding new problems to solve—and toying with us again.
Michael Cimino’s Heaven’s Gate, Monte Hellman’s Two-Lane Blacktop
Robert Bresson’s The Devil, Probably; Maurice Pilat’s Police; Leo McCary’s My Son John.
Until the final reel of celluloid is shot and projected, will every film’s primary subject be film itself?
Louis Malle’s Vanya on 42nd Street; Vera Farmiga’s Higher Ground; John Cassavetes’s Too Late Blues
Krzysztof Kieslowski’s Three Colors, Gavin O’Connor’s Warrior
The Complete Jean Vigo, Travis Wilkerson’s An Injury to One.
José Luis Guerín’s In the City of Sylvia, Tanya Hamilton’s Night Catches Us, Martin Scorsese’s New York, New York.
Jane Campion reconsidered.
James L. Brooks’s Broadcast News, Alan Rudolph’s Trouble in Mind, Jonathan Demme’s Something Wild.
