At first glance, it's a strange double feature for my second day at the Virginia Film Festival: Chris Marker's Le Joli Mai ("The Lovely Month of May") and Jia Zhangke's A Touch of Sin. One is a 1963 documentary—reedited and restored in 2009—which provides a portrait of Parisians in 1962, after the Algerian War. The other is a fictionalized portrait of modern-day China that weaves together four stylistically violent, ripped-from-the-headlines stories which intimate the brutality of unrestrained capitalism.