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
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The economy may be shattered, but Ireland’s filmmakers continue to come up with the goods. Trevor Johnston surveys the current Irish scene
Banderas’s doctor in The Skin I Live In is only the latest in the movies’ proud heritage of gothic medics. By Kim Newman
David Thompson remembers his youthful discovery of Station Six Sahara and the unfulfilled promise of its director, Seth Holt
Pedro Almodóvar’s The Skin I Live In marks both a bold excursion into horror and a return to old obsessions. He talks to Maria Delgado
PLUS Kim Newman charts horror’s tradition of mad plastic surgeons
PLUS Paul Julian Smith untangles Almodóvar’s dense web of references to his past oeuvre
Pedro Almodóvar’s The Skin I Live In marks both a bold excursion into horror and a return to old obsessions. He talks to Maria Delgado
PLUS Kim Newman charts horror’s tradition of mad plastic surgeons
Charting an experiment in which a chimpanzee was raised by humans, James Marsh’s Project Nim tells us less about the science than about the ethos of the 1970s. By Nick Roddick
With its unsettling blend of visceral genre and everyday realism, Kill List more than confirms the promise displayed in Down Terrace by up-and-coming director Ben Wheatley. He talks to Nick Hasted
The economy may be devastated, but Ireland’s filmmakers continue to come up with the goods. Trevor Johnston surveys the scene, and talks to John Michael McDonagh, writer-director of The Guard
A lightweight British comedy star in the 1950s, Dirk Bogarde reinvented himself as an icon of European arthouse. By Nick James
David Gladwell worked with Lindsay Anderson’s on If.... before directing Requiem for a Village, his haunting 1975 evocation of English country life under threat. Michael Bracewell welcomes its reissue
After an unhappy interlude in Hollywood, 1955’s French Cancan was a triumphant return home for the great Jean Renoir. David Thompson celebrates the film’s rerelease
The new film from Hoop Dreams director Steve James chronicles a daring initiative to tackle violence on the streets of Chicago. It’s as compelling as The Wire, says Michael Brooke – and it’s all true
Tsuchimoto Noriaki’s films are immersed in the language, perceptions and environments of his subjects, says Chris Fujiwara
In Susanne Bier’s twin-track drama of virtue and violence in the schoolyard and in an African war zone, morality shifts and heaves beneath the surface sermons, argues Lisa Mullen
Henry K. Miller on expert retromaniac J.J. Abrams’ homage to 1970s backyard filmmaking, “a Spielberg pastiche of uncanny precision and sublime pointlessness.”