Image: Michael Shankman, Senza Titulo (Detail), Oil on Canvas
Now showing: a celebration of film around the world. We're offering a double bill of documentaries and features, with memoirs from international directors and screenwriters complemented by tales of characters immersed in a world of film. From close-up to wide angle, on location and off in a dream world, these writers provide a panoramic view of the cinematic world. In two stories of film's international reach, Ryu Murakami's yakuza finds a soulmate in small-town Texas, while João Paulo Cuenca's Brazilian slacker aspires to la dolce vita. Montreal's Robert Paquin describes the delicate art of dubbing profanity. Japanese director Nishikawa Miwa recalls the nightmare origins of her Sway, and Michelangelo Antonioni's assistant director Flavio Niccolini shares his diary from the set of the masterpiece Red Desert. Strega Prize-winner and screenwriter Domenico Starnone recounts the beginning of his lifelong infatuation with film. And the great Saadat Hasan Manto pens an amused portrait of the Pakistani star Noor Jehan. We hope you'll find this issue a blockbuster.
Elsewhere, in poetry from three continents, Algeria's Habib Tengour reflects on exile and identity, Australia's Cobbin Dale spins an Aboriginal folk tale, and Vietnam's Nguyen Phan Que Mai moves between earth and sky. In the second installment of "Our Man in Madrid," Peruvian Jorge Eduardo Benavides depicts a society caught in the grip of a deadly presence. In another story of menacing elements, Eom Jeong-Hui and Ko Im-Hong return with the second chapter of their graphic novel The Secret of Frequency A.
Making a Scene
This tiny, tiny kid shot down the right aisle, then under the screen, then popped up the left aisle, to the back of the theater, and started all over again—propeller going all the while.
The barber pulled out a sharpened razor, placed it in his friend's hand, and said, "Cut out any piece of my flesh that you like."
Today the six characters will take off their shoes, one by one, and will take their spots on the bed.
The classic "Mastroianni Day" requires a three-piece suit, dark sunglasses, and, preferably, a hat.
Director’s Notes on “Sway”
The man might not escape the death penalty. And I had become deeply involved with him and with his crime.
(Bleep), You (Bleeping) (Bleep): Dubbing American Films into Canadian French
There are two mortal sins in film dubbing.
The Last Picture Show
It felt funny being called a delinquent by a yakuza.
Reviewed by Anderson Tepper
Rodoreda’s characters struggle with the crushing realities of life—airless marriages, the shrinking of dreams and horizons brought on by war and poverty, illness and grief, separations and departures.
Reviewed by Jean Harris
Esti is not a classic, Gothic doppelganger, not Jekyll to the narrator's Hyde, but more of a magician who can seem to lift a house by playing a magic flute.