My current research focuses on the triangulated relations among Hong Kong, French, and Hollywood cinemas from the mid 1990s to the present. I am particularly interested in how exchanges of cultural or, more particularly, cinematic capital relate to a crisis mentality linked to the globalization of finance, digitization and virtualization, piracy, and other millennial–and current–concerns. At the same time, I see myself doing the history of “theory” in its own apocalyptic moment and in relation to cinematic production. A taste of what I am up to will be found in my essay “The Medium Is Not the Message: Rancière, Eschatology, and the End of Cinema” (in Rancière and Film [Edinburgh University Press, 2013]).