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
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Ian Christie explains how Michael Powell's unfinished fantasia of 1973 moves between the imagined and reality, scrolling through his life and loves with wit and sensuality.
Aleksandr Sokurov's new film is an upbeat character study of Japanese emperor Hirohito. By Geoffrey Macnab
A new documentary sees the Chechen conflict through children's eyes. By Leslie Felperin
This summer's Edinburgh Film Festival lays out a challenging spread that includes Aleksandr Sokurov's portrait of Hirohito, a Finnish documentary about Chechnya and a film opera from Hungary. Geoffrey Macnab, Leslie Felperin and Nick Roddick report, plus S&S gives our top ten recommendations
If you want to know how Nirvana singer Kurt Cobain died, Gus Van Sant's Last Days won't tell you. But it does deliver an inspired meditation on untimely death and the power of mourning. By Amy Taubin. Cover image Michael Pitt as Blake in Last Days
After he'd finished writing Dear Wendy Lars von Trier asked his Dogme co-founder Thomas Vinterberg to direct. The result is a satire on US gun culture and a poignant story of lost youth that draws Brecht and Beau Brummel into its mix. By Virginie Guichard. Plus James Bell talks to the director about guns, gangs and whether Dogme is dead.
Do you know what goes on in the cutting room at night? Michael Powell did, and this fictionalised editing-suite fantasia - written in 1973 and published here for the first time - scrolls with dreamlike sensuality through his life in the studio, his love of women and his passion for cinema. S&S pays exclusive tribute to one of Britain's greatest film-makers on the centenary of his birth.
Claire Denis' The Intruder is a reflection on fatherhood, mortality and the life of French new wave actor Michel Subor. Jonathan Romney tracks her unpredictable career and talks to her about heart transplants, South Seas idylls and Swiss strongrooms
A powerful tale of the aftermath of a fictionalised civil war - inspired by the genocide in Rwanda - has Shakespearean resonances. By Philip Kemp