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It\u2019s become an annual tradition: During the dog days of August, right between the last major release of the summer movie season and the start of the fall festival onslaught that kicks off at the end of the month, IndieWire devotes an entire week to celebrating a previous decade of film. We launched with \u201990s Week<\/a> in 2022, ticked back in time with \u201980s Week<\/a> the following year, and naturally did the obvious thing the year after that by\u2026 jumping forward to focus on the aughts<\/a>.<\/p>\n The \u201970s just seemed too vast \u2014 too robust \u2014 to contain within a few short days of lists, essays, interviews, and the like. Which isn\u2019t to say that our previous theme weeks offered a comprehensive overview of their respective decades, or even intended to, but it always felt like we could see enough of the whole picture through the various pinholes we chose to use.<\/p>\n More from IndieWire<\/strong><\/p>\n But the \u201970s were different; they were a time \u2014\u00a0maybe the last<\/em> time \u2014 when it seemed like the movie world was still expanding in every direction all at once as both a business and an art form. It felt comical to suggest that we could wrap our heads around it to the same degree as the previous eras we\u2019ve covered (which happen to be the eras that most of the IndieWire staff have lived through).<\/p>\n And yet, it was always just a matter of time before we tried to do it anyway, because that\u2019s how the internet works. And because there were so, so<\/em> many things about the \u201970s that our writers were excited for an excuse to explore more deeply than our publishing cycle typically allows. And because our fearless editor-in-chief lit up \u2014 instead of firing me on the spot \u2014 when I jokingly suggested we devote an entire day of the site\u2019s coverage to Pier Paolo Pasolini\u2019s \u201cSal\u00f3, or the 120 Days of Sodom\u201d (which will include new interviews with the likes of John Waters and Luca Guadagnino, along with a deep-dive into the history of on-screen shit-eating, and a variety of other bits and bobs that have seek to have some fun with the movie\u2019s outsized reputation, while still respecting the gravity of its horrors).<\/p>\n I\u2019ve spent much of the last few months trying to figure out what our latest theme week could and should make room to include, and while I don\u2019t think I\u2019m any closer to knowing the answer now than I was when we first started hashing out ideas, I have to say I\u2019m happy with what we ultimately got.<\/p>\n Some of our more ambitious plans invariably fell by the wayside (at one point we tinkered with the idea of asking a number of prominent filmmakers to each remake a few minutes of \u201cJeanne Dielman\u201d on their own terms, and I thank many of them for taking the concept more seriously than it deserved), and it pains me that we didn\u2019t have the bandwidth to dedicate entire pieces to Cinema Novo or the Shaw Brothers or any of the other rich subjects we only brush up against as part of our 100 Best Movies of the Decade list, but I\u2019m thrilled with the far-ranging variety of stuff <\/em>that we\u2019ve prepared.<\/p>\n Sharp and probing essays about everything from post-colonial African cinema and Meiko Kaji to the woman who wrote \u201cSlap Shot\u201d and the glories of Martin Scorsese\u2019s misunderstood \u201cNew York, New York.\u201d A star-studded tribute to the glory days of Roger Corman, featuring contributions from Scorsese himself, Robert De Niro, Joe Dante, and more of his most famous acolytes. Keith Carradine on making \u201cNashville.\u201d Walter Hill on making \u201cThe Warriors.\u201d Horror. Anime. The list(s) goes on. We even have a great sponsor in Bleecker Street\u2019s \u201cRelay,\u201d which plays like a riveting throwback to the New York thrillers that helped to define the \u201970s.<\/p>\n In honor of \u201970s Week, which kicks off this coming Monday, here is a small sample of highlights from our previous theme weeks:<\/p>\n