Stripped of its halos, alibis, and consequences, sex would constitute a cruel, if pleasurable, formalism whose sole principle is sex for sex’s sake. And with the closing of the circle, the final surprising, yet not unexpected, match of high and low, such urgent but empty and gratuitous sex seems a universal fate.
Film Quarterly covers a selection of recent films (including re-releases) in greater detail than is possible in many other publications. The balance of reasonable timeliness and in-depth analysis reflects our policy of combining the best qualities of journalism and academic writing.
4 Months, 3 Weeks and 2 Days; Classic Japanese cinema; Cinematic Tokyo; Andre Bazin, and the 2007 Films of the Year
READ: Arthouse Elephant, The New World System, Whose County?, and “California Video”
Godard, Bereavement films, Ominous dramas, The Wire, Parisian cinema, frame-capturing, and film culture in Rome
READ: Easy Words, The End, Cyperpicketing, and American Mess
The first image in Austrian director Michael Haneke’s latest masterpiece, Caché (Hidden), is a long shot of a narrow urban street, leading to a fairly nondescript house. Filmed with a static camera, uninterrupted by editing, and lingering longer than most viewers are accustomed to, this mysteriously ominous glimpse of French street life immediately sets the mood that is the hallmark of Haneke’s work.