Special Dossier: Asian American Film at Fifty
Joanna Hogg’s Spatial Emotions
Interview: Marina Razbezhkina
Mar del Plata Film Festival
Romance in End of the Century
Indigeneity in Latin America Films
Reading Musicals, Reviving Lino Brocka
Special Dossier: Asian American Film at Fifty
Julia Reichert’s Brilliant Career
Marceline Loriden-Ivens: A Posthumous Interview
Decoding Russian Doll
Festivals: FESPACO at Fifty, Bologna, Toronto
Series: Decolonizing Cinema & New Arab Women’s Films
Columns: Mexico in the ’80s, Rural Race Genres & Brown Bodies in Brit Pop Culture
Dirty Data: The Cleaners
Monos in Colombia
Miserabilism in Ray & Liz
Can You Ever Forgive Me?
Ecology in Game of Thrones
Interview: Cristina Ibarra and Alex Rivera on The Infiltrators
Festivals: Cannes, Malaga
Manifesto! Eleven Calls to Action
Interview: Maria Augusta Ramos
Pawlikowski’s Cold War
Getting Real Conference
China’s Festival Culture
Radical Catalan Cinema
The House of Flowers
Seventies Feminism Revisited
Recasting M.I.A.’s Image
Combining the best of scholarship and journalism since 1959, Film Quarterly publishes in-depth articles, reviews, and interviews on all aspects of cinema, media, and society—from film classics to emergent technologies. Film Quarterly is committed to advancing timely and intersectional approaches to the criticism and analysis of visual culture through exploring new perspectives on issues of diversity, race, gender, sexuality, and transnationalism. Masthead Editor B. Ruby Rich Associate Editor Rebecca Prime Assistant Editor Marc Francis Book Review Editor Carla Marcantonio (e-mail) Quorum Editor Girish Shambu Editorial Board Christine Acham, University of Hawai’i Chris Berry, King’s College London Natalia Brizuela, University of California, Berkeley Richard Dyer, King’s College London Racquel Gates, College of Staten Island, City University of New York Michael Boyce Gillespie, City University of New York Faye Ginsburg, New York University Noah Isenberg, University of Texas, Austin Alisa Lebow, University of Sussex Akira Lippit, University of Southern California Ivone Margulies, Hunter College, City University of New York Lisa Parks, Massachusetts Institute of Technology James Schamus, Columbia University Amy Villarejo, Cornell University João Luiz Vieira, Universidade …
FROM THE EDITOR Turning Sixty B. Ruby Rich FEATURES Unrest: Gender, Chronic Illness, and the Limits Of Documentary Visibility Megan Moodie Emotion Pictures: International Melodrama, A Virtual Report Linda Williams INTERVIEWS Searching For Nelly Kaplan Joan Dupont “I Was Never Afraid,” An Interview with Lucrecia Martel Gerd Gemünden and Silvia Spitta COLUMNS Letter from Madrid | La Llamada, Paquita Salas, And The Javis Paul Julian Smith Elsewhere | The War for Nostalgia: Sanjay Leela Bhansali’s Padmaavat Bilal Qureshi On Platforms | What It Means to be High Maintenance Caetlin Benson-Allott FESTIVAL REPORTS Report From Tbilisi Jerry White A Mechanism Capable of Changing Itself: Berlinale 2018 Selina Robertson The Scales of Justice: Sundance 2018 B. Ruby Rich PAGE VIEWS Cinema and the Anthropocene: A Conversation with Jennifer Fay Nicholas Baer BOOK REVIEWS Show Trial: Hollywood, HUAC, and the Birth of the Blacklist by Thomas Doherty Carrie Rickey The End of Japanese Cinema: Industrial Genres, National Times, Media Ecologies by Alexander Zahlten Rea Amit A Dance with Fred Astaire by Jonas Mekas Girish Shambu Going Viral: Zombies, …
It has been more than a year since this editorial space filled with speculations about streaming films and the closing of theaters. It was with distinct excitement, then, that I began to read the reopening announcements. The beloved Paris Theater in New York City, with its lease now held by Netflix and with programming selected by former Museum of the Moving Image curator David Schwartz, trumpeted an Al Pacino retrospective. The Film Forum, that mainstay of downtown New York tastemaking, announced its theater’s reopening while retaining its virtual marquee, too.
It is a human habit, perhaps, to project the present into the future—a default mode that drives forward even when the road has crumbled. So it was with film in Year One of the pandemic, characterized by a state of denial shaded with panic. By the end of 2020, film festivals were adjusting their schedules according to an imaginary “after” as if the vaccine were set to materialize imminently, universally, and magically everywhere, to step out from behind the curtain and restore life to what it used to be: movie theaters open, film festivals under way.
There is no such thing as business as usual now. And most certainly, no film as usual: every festival canceled, every movie theater dark, as the names of the closures and cancellations bring sadness and grief for curators and filmmakers, film critics and distributors, cinema owners and workers, film studies professors and students, and, yes, their audiences—all, of course, as of print time.
As the year 2021 crept along, it became increasingly schizophrenic. Emerging from pandemic lockdowns was euphoric—until news of the redubbed Delta variant began to dash hope and cause doubt or panic. Still, theaters announced their reopenings and cinephiles flocked, some nervously, some exuberantly. The Pacific Film Archive, profiled in this issue, set September 1 as its indoor reopening date.