Issue 36

Gus Van Sant's film produces a kind of poetry from the most unlikely of events, the Columbine shootings. Drawing on ideas from Antonin Artaud and Slavoj Zizek, Neera Scott demonstrates how the film 'wrests something from disaster'.

Understandably, the 'rape-revenge' scenario has been endlessly controversial, yet the cinema continues to replay it in different guises and contexts. This article charts the evolution of a genre, giving particular emphasis to the Japanese cinema's take on the theme.

For all the discussion of Von Trier's 'abstract' drama in commentaries on Dogville it has often been overlooked that the film is grounded in precise philosophic ideas.

South Korean cinema continues to consolidate its international profile, and Song Il-gon is one of its distinctive voices. He talks about his films and career to date.

Australian director Robert Connolly discusses his adaptation of Elliot Perlman's novel about the souring of the Australian dream in an age of economic rationalism.

A key figure of the new Argentine cinema and director of Los Muertos talks about various aspects of his filmmaking craft.

Like fellow Canadian Guy Maddin, Gonick hails from Winnipeg, the city at the heart of Stryker, his visually arresting feature film shot by noted cinematographer Ed Lachman. That and much else about this distinctive film are discussed in depth.

German filmmaker Michael Brynntrup is the subject of his films. Le Cain dissects Brynntrup's self-portrait magnum opus E.C.G. Expositus: The Broadcast and the Artistic Media.

The Quay Brothers' seminal film as seen through the lens of Walter Benjamin's ideas.

Benning's 13 Lakes is discussed in the light of André Bazin's concept of the ontology of the image and its frame.