Brianne Brenneman surveys the female characters in Woody Allen’s films of the 1970s and finds that these films consistently ‘portray women who have been written as ultimately making the male lead appear more decent, likeable, and sympathetic.’ Harriet Earle takes a Freudian look at the creation of the traumatic female body in Lars von Trier’s Antichrist. ‘For Scorsese, moreover, “the way of the future is all about unrestrained greed:”’: Leighton Grist performs a close reading of The Aviator, connecting ‘filmmaking, capitalism, flying and the psychopathological.’ Ina Karkani takes on Greek cinemas ‘weird’ response to social and economic crisis. Tony Williams makes the case for regarding the complete version of The Magnificent Ambersons as Orson Welles’s version of Chekhov’s The Cherry Orchard, while Garry Leonard discusses classic cinematic melodrama, T.S. Eliot and modern attempts ‘to replicate the function formerly structured by the sacred in day to day life.’ Also in our next issue, Santiago Rubín de Celis on the unproduced film projects of André Delvaux, and Katrina Sark on Beatrice Möller’s documentary about two generations of women, Everything We Want. Add to this a selection of interviews, including an in-depth talk to Pedro Costa, and, of course, our regular columns.