Contents BRING THAT BEAT BACK: When Dave Chappelle needed someone to film what he planned as the greatest hip-hop concert ever, he called Eternal Sunshine genius Michel Gondry. The result is not only a great concert film but also a fantastic portrait of the actor/comedian as he harnesses the healing power of music. By Matthew Ross

THE SCHIZOID MAN: Director Richard Linklater creates an animated allegory for our times with A Scanner Darkly, an adaptation of sci-fi great Philip K. Dick's darkly comic tale about drug-using undercover agents. By Scott Macaulay
PLUS: The ins and outs of Scanner's postproduction.

SHOW ME LOVE: Cinematic provocateur Caveh Zahedi continues to turn his life into art with I Am a Sex Addict, a wickedly clever new autobiographical comedy. By Andrew Bujalski.

PLUS: Zahedi's self-distribution manifesto.

AGGRESSIVE TENDENCIES: In his riveting and informative new doc, Why We Fight, filmmaker Eugene Jarecki takes a revealing personality profile of America and the military-industrial complex it supports. By Matthew Ross

EIGHT HOURS ARE NOT A DAY: With Bubble, the first in a series of low-budget HD features, Steven Soderbergh reunites with his Full Frontal screenwriter Coleman Hough to explore the mysteries of wage labor. By Matthew Ross

THE WALKING DEAD: With The Three Burials of Melquiades Estrada, Tommy Lee Jones has moved his laconic, hard-weathered persona behind the camera to tell a simple, moving story about race and class in the vanishing West. By Jason Guerrasio

ONE SHOT WONDERS: Shooting in their Belgian hometown and focusing their intense dramas on people in crisis, the Dardenne Brothers tell simple stories with big dramatic impacts. Their latest, L'Enfant, deals with illegal adoption and is their second Palme d'Or winner. By Tom Gilroy

THE WAR WITHIN: With his second feature, the challenging and sexually provocative Battle in Heaven, Jap?n director Carlos Reygadas confirms his status as one of the boldest film storytellers of his generation. By Matthew Ross
RUDE BOY: Adapting the Athol Fugard novel set among the South African underclass, Tsotsi director Gavin Hood and debuting screen actor Presley Chweneyagae have created a cinematic punch to the gut. By Matthew Ross