Film

I Was Born, But...  (IFC Center)Wild Grass  (Sony Pictures Classics)Alamar (Film Movement) A smart distributor, on whom be peace, has decided to give a theatrical premiere to an early film by Yasujiro Ozu. This is good news, not just because the film itself—I Was Born, But...—is endearing but because it draws further attention to this Japanese master. Much of Ozu is available on DVD, including this film, but more theatrical recognition may increase this country’s care for a wonderful artist. Ozu (1903–1963) began to direct in 1927 and made a total of fifty-four features.

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Restrepo National Geographic Entertainment Human Rights Watch International Film Festival Let It Rain IFC Films “War is hell.” General Sherman’s three-word definition has never been surpassed. He meant to dispel prevalent notions about glory, which he called moonshine. Factual knowledge, he apparently thought, would diminish war. The still camera had already started to support him; now there are also film and video.

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Changes

Two in the Wave Lorber Films Looking for Eric IFC Films No movement in any nation’s film history has had a greater effect, at home and abroad, than the French New Wave. Beginning in the late 1950s and cresting through the 1960s, it not only brought forth new and invaluable talents: it altered in some degree the expectations of audiences. Much has naturally been written about the New Wave.

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The three of them, SKG, appeared in the Verandah Room of the Peninsula Hotel in Beverly Hills on the morning of October 12, 1994, to say that they wer

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Ajami. In a multi-ethnic district of the city of Jaffa, Arabs and Jews struggle among themselves and with one another in various prisms of crime and love. Co-directed by a Palestinian and an Israeli, it is swift, vital, and gripping. (In our upcoming 3/11/10 issue.) The Messenger. Two U.S.

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Discoveries

The White Ribbon Sony Pictures Classics Creation Newmarket Films   Michael Haneke, whose new film is called The White Ribbon, has given it a subtitle: A German Children’s Story. That is warning enough. This Austrian director is by now so distinctively established as a connoisseur of darkness--with Funny Games, about neighborliness as murder; with Caché, about the past seeping into the present; with The Piano Teacher, about the animal in the civilized--that his dainty subtitle must be seen as a deadpan tease.

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And Showtime is about to present, in a ten-part miniseries, Oliver Stone’s “Secret History of America.” Don’t you wonder why, if Stone (and Michael Moore, for that matter) is right about the evils of capitalism, an enormous capitalist corporation has produced--and will now show--what is, almost by self-advertisement, a nutcase reconstruction of the American past, focusing on its enemies, who he seems to think have been traduced by historians? Someone named Jackson Creswell, from a website called Collider, seems to think that Stone “revel[s] in political controversy ...

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Chinatown

The whole silly book is lit up with the superficial melodrama of scandal. Whereas Hollywood is so much more level-headed.

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You probably don't know who Rudolf Kasztner was. But, actually, I've know about him since I was a teenager. Was he a Jewish hero? Or was he a traitor to the Jews? I can still hear the familiar piercing locutions of my parents' bad marriage, fought out over politics, Jewish politics, daily, unrelenting, almost viperous. My mother was for him, this Dr.

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I don't much like their Nation. And it, for that matter, doesn't like our nation. But, every so often, Calvin Trillin writes something that tells truth to his own. What Whoopi Goldberg ('Not a Rape-Rape'), Harvey Weinstein ('So-Called Crime') et al. Are Saying in their Outrage Over the Arrest of Roman Polanski Deadline Poet By Calvin Trillin October 7, 2009 A youthful error?

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