From ‘Crash’ to another moving diaster
By Steven Snyder
It’s Paul Haggis’ sincerity that gets him into trouble with a small but vocal corner of the critical establishment. His work is layered in a sense of conviction that makes him an easy target for anyone who considers his films overly sentimental or overtly naïve.

Drawing from life, with both Footes in
By JERRY TALLMER
Horton Foote has flown the coop. “Rent!” he says with a shudder. “It kept going up, got so high I couldn’t afford it. Eighteen years I’d been there,” he says of the apartment in the far-west Village where he and his wife Lillian thought they would live out their days, and she did live out hers.

KOCH ON FILM

Online art magazine goes live on Lower East Side
BY ABBY LUBY
If you were checking out the lively art scene last weekend between Delancey and E. 6th Street, you couldn’t miss the large vinyl banners draping three trucks: the Whitehot Office Truck, Whitehot Cinema Truck, and Whitehot Concert Truck.

South Central L.A., unglossed but richly drawn
By Leonard L. Quart
In 1983, Charles Burnett’s rough cut of his second film, “My Brother’s Wedding” was rushed by his producers to the New York Film Festival before he had completed a final edit. It received a mixed review from the New York Times, scaring off distributors, and was subsequently never released. The recent successful reissue of “Killer of Sheep” gave Burnett the opportunity to complete the film the way he had initially wanted. Its restoration by Pacific Film Archive, and its accomplished digital re-edit by Burnett (from 115 minutes to 81), allows us to finally see the director’s version of the film.

The party’s (not quite) over for the Art Parade
By Raquel Hecker
It’s not everyday you get the chance to see Fischerspooner naked except for some strategically placed donuts. But last Saturday, the art band/collective could be seen in a golf cart in various states of undress as New York’s wildest galleries and strangest performance venues spilled their guts onto West Broadway for two hours for the third annual Art Parade.

A love lost, but no bodily harm done
By Jennifer O’Reilly
Corey Dargel’s “Removable Parts” bills itself as a “series of love songs about voluntary amputation.” Although no literal limbs get chopped during the performance, tales of metaphorical loss litter the stage. The play features only two actors — creator Dargel as “The Singer” and Kathleen Supové as “The Pianist” — in an oddball cabaret that deals whimsically with a little-known mental illness that drives people to want to separate from their own bodies.

Chronicles of longing and loneliness
By Debra Jenks
Kohei Yoshiyuki’s “The Park” at Yossi Milo Gallery is a series of photographs taken in the 1970s in the parks of Tokyo. The project came about when Yoshiyuki accidentally stumbled upon a couple having sex on a balcony. The pictures, however, are not about the sex that occurs in public places. They are about the shock of the unexpected encounter and the phenomenon of watching, and Yoshiyuki invites his viewers to join in on this unsettling exploit — which was apparently too unsettling for Yoshiyuki, because he later destroyed many of the images. Only when Yossi Milo tracked him down did they find enough to mount this show, Yoshiyuki’s first in 30 years.