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Film

In cinema, 1996 might be remembered as a year of poetic justice. As Susan Sontag bewailed the demise of cinephilia in the pages of The New York Times Magazine and critics mourned the death of Krzysztof Kieślowski as the passing of the last great European auteur, directors such as Lars Von Trier, André Téchiné, Wong Kar-Wai, and Mike Leigh came through with films that renewed faith in cinema as an art form. In the United States, on the other hand, where new cable venues like the Independent Film Channel and the Sundance Channel championed independent cinema, the movies that emerged had more bark than bite. Yet even without a Pulp Fiction or Kids to delight or incense audiences, and with independent films turning to sitcom formats with decidedly sentimental results (She’s the One, Walking and Talking, and Beautiful Girls), 1996 did offer at least one positive trend. Noting a slew of films

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