"Maximalists of affect, Cassavetes and Anderson are always asking versions of the same question: How much emotion can a movie contain? Or maybe: How many emotions? These two films run the gamut, moving in surges of joy and sorrow, erasing the line between tragedy and comedy."

"A simple but magnificent proof of genius. A first novel by a 25-year-old with absolute command of his craft, uncanny knowledge of his world, its past and present, and a daring originality which makes its last pages among the most startlingly moving I know."

"Part of the Cairo trilogy by Mahfouz, this novel is like Ulysses in its focus (everyday life) but instead of a day covers a family moving through generations. It, too, views politics not through the excitements of politicians but what it means for our lived experience."

"More required reading for would-be beatniks. Every punk rocker moving to New York in the ‘70s had this book around; it became the Bible for the east village aesthetic and free-flowing “cut-ups.” Its dystopian views fit perfectly into the punk rock esthetic of nihilism."

"Maybe My Name Is Joe, to mix it up a bit. At the time when I saw this, I was just wanting to get into filmmaking and I was really fascinated by Ken Loach — and Mike Leigh — because, again, they were social realist films. Loach is more politically based. My Name Is Joe was just such a moving film and it basically portrayed a portrait of a man that basically didn’t have a choice in the choices he made because of his political situation, and then, just how that wasn’t really enough. It was a really tragic, moving film. I just love that film."