[...] At the centre of that film is the story of the life and death of a particular kind of urban institution, the neighborhood cinema, a social space whose exitence brings with it the possibility of both communal artistic experience and the chance encounter. (These encounters tend not to end happily in his films, but such intersections, and the promises and disappointments of urban life, are nevertheless a source of touching fascination to him.) [...]

[...] (When I speak of cinemas I am not at this juncture referring to those multiplex monstrosities that dedicate their sixteen screens almost entirely to tentpole blockbusters directed by corporate committee; these only rare today happen to screen anything that could be described as cinema.)