If timing is everything, then the cycle of a quarterly is a frustrating one, especially for a film journal. A quarter of a year: it’s close enough to film premieres and television rollouts for the writing to be inspired, yet once into production, it’s still months away from delivery to the world.
Summertime is usually an interregnum for Film Quarterly and many of its readers: a time between university terms and, with the singular exceptions of Locarno and Karlovy Vary, between film festivals as well: after Cannes, before Toronto/Telluride/Venice/New York. As this issue went to press, however, production was repeatedly interrupted by a need to attend to the news.