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.

It is surely worth remarking that new movies by Wong Karwai and Hou Hsiao-hsien, China’s two leading auteurs, were released stateside on the same April weekend. The remark that springs to mind is: where’s China?

Now that the desert desperation and motiveless malignity of No Country for Old Men (2007) has been showered with awards from the Directors Guild, the Screen Actors Guild, and finally the Oscar for Best Director(s) and Best Picture, it’s worth mulling over what the film, apart from its directorial panache, is actually about.

The “California Video: Artists and Histories” show, curated by Glenn Phillips, opened at the Getty Research Institute in Los Angeles on 15 March 2008, running through 8 June. Ambitious in its scope, it features the works, all made during periods when they were based in California, of fifty-eight individual artists and collaboratives.

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”