Arts+ Selects
This article is from the archive of The New York Sun before the launch of its new website in 2022. The Sun has neither altered nor updated such articles but will seek to correct any errors, mis-categorizations or other problems introduced during transfer.
28 WEEKS LATER
R, 91 minutes
“28 Days Later” was a movie about awaking on doomsday and not knowing what to expect, first from an unknown global “rage” virus, then from the thousands of infected, bloodthirsty souls roaming Britain. By contrast, in “28 Weeks Later,” the Juan Carlos Fresnadillodirected sequel, we see the original fear-of-the-unknown mutate into a fear of our own inadequacy in allowing history to repeat itself.
Seven months after the initial outbreak and devastation, the U.S. Army has landed in Britain, removed the corpses of the monsters, and declared that the “war against infection” has been won. But, as it tends to do, human nature finds a way to buck best-laid plans.
S. James Snyder (May 11)
PARIS, JE T’AIME
R, 120 minutes
This compendium of glancing vignettes, 18 postcards of l’amour fou and l’amour perdu dispatched from all but two of Paris’s 20 arrondissements, is loosely connected through geographical proximity and twinkling star power. Where one story ends, another begins, with directors drawn from a who’s who of indie/Euro/art-house faves: the Coen Brothers, Gus Van Sant, Alfonso Cuaron, and others.
Each is required to shoot against a specific backdrop and keep his segmentit to about six minutes. The cumulative effect suggests a city teeming with simultaneous love adventures, each an instant of magic or bedevilment, cruel fate, or pixilated whimsy.
Steve Dollar (May 4)
