Then there are eight new festival reports, five book reviews, a baker's dozen of annotations on individual films - and John R Hamilton ushers Paul Schrader into the database of Great Directors. Their work is an intimate, highly formal, and breathtakingly cinematic exploration of the Australian landscape, their immediate domestic and working environments, the material qualities of the cinema, and key artistic influences on their work and life.'

Interviews: Marko Bauer with Arnaud Desplechin, Sally Shafto with filmmaker and Moullet collaborator Marie-Christine Questerbert, Jake Wilson with Melbourne-based filmmaker Leo Berkeley and Mary M Wiles with New Zealand filmmaker Gaylene Preston.Īdrian Danks introduces the Arthur and Corinne Cantrill Dossier they 'started their extraordinary filmmaking careers in 1960, and remain two of the most significant and productive figures in the history of experimental cinema. Senses of Cinema editor Rolando Caputo, summing up the gist of Murray Pomerance's essay on Second Life, notes that, for those who live there, 'the 'virtual world' has become reality, and 'reality' the virtual world.' Ian Alan Paul considers 'What Inception tells us about our experience of reality and film' and the title of Celluloid Liberation Front's piece on Fassbinder's 1973 made-for-TV adaptation of Daniel F Galouye's science fiction novel, The Counterfeit World, is ' World on a Wire: Reality is Colder than Fiction.' These three features 'are to be taken as a triptych,' advises Caputo, as 'all, respectively and in their independent and unique way, address the crisis of the 'real.''Īlso: David Bellos on Sylvain Chomet's The Illusionist, Stephen Barber on the Skladanowsky Brothers, Matt Losada on Spanish experimental filmmaker Iván Zulueta, Noel Vera on Filipino filmmaker Rico Ilarde, Stephen Gaunson on the Rolling Stones, Robert Frank and Cocksucker Blues and Ehsan Khoshbakht on watching the world cup in a Tehran cinema.

Movies at bam