This is the complete list of articles from the print magazine issue of Cinema Scope #59. We post selected articles from each issue on the site. For the complete content please subscribe to the magazine, or consider the instant digital download version. Articles available free online are linked below. FEATURES AND Read more →
Cinema Scope Magazine
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Issue 59 Table of Contents
Declarations of Independence: A Conversation Between Alex Ross Perry and Joel Potrykus
I first encountered Joel Potrykus’ Ape (2012) when I was a jury member for the Filmmakers of the Present competition at Locarno. As it was the sole American narrative film in the selection, my curiosity was piqued before the festival even began. Ape was a Read more →
Diary of a Mad Housewife: Robert Greene’s Actress
By Adam Nayman “I tend to break things,” says Brandy Burre early on in Actress, and Robert Greene’s film gives her plenty of opportunities to validate this claim. An aggressively stylized profile of a former ensemble player on The Wire who now lives with her Read more →
Deborah Stratman: Safe and Sound
By Samuel La France “Fear is static that prevents me from hearing myself.”—Samuel Butler Since I’ve never lived in an earthquake zone—or a war zone, for that matter—the subtle and persistent tremors of Deborah Stratman’s installation Tactical Uses of a Belief in the Unseen (2), Read more →
Each Memory Creates Its Own Legend: The Films of John Torres
By Max Nelson John Torres has the sensibility of a romantic poet, the mode of address of a personal essayist, and an anthropologist’s curious, lingering, critical eye. His four features—all shot on miniscule budgets with the help of modest grants, cheap digital equipment, and, in Read more →
Cannes 2014: Who Let the Dogs Out?
...another Cannes film festival whose lineup reads like it could have been cobbled together by a computer programmed with Frémaux DNA... Read more →
Cannes 2014 | Adieu au langage (Jean-Luc Godard, France)
By Blake Williams The first on-screen text in Toutes les histoires (1988), the first chapter of Histoire(s) du cinéma, reads (as translated), “May each eye negotiate for itself.” Presented while Godard pronounces another maxim (“Don’t show every side of things; allow yourself a margin for Read more →
Cannes 2014 | Jauja (Lisandro Alonso, Argentina/Mexico/Denmark/France/Germany/USA/Brazil)
By Quintín After the completion of his “Lonely Men Trilogy” of La libertad (2001), Los muertos (2004), and Liverpool (2008), people started to say that Lisandro Alonso should do something different. Jauja answers that request: it’s a film with an international star (Viggo Mortensen), features Read more →
Cannes 2014 | Winter Sleep (Nuri Bilge Ceylan, Turkey/Germany/France)
By Jordan Cronk Seemingly preordained, director Nuri Bilge Ceylan’s overdue Palme d’Or win provided a nonetheless satisfying conclusion to a rather undramatic Cannes film festival—and, further, to a closing awards ceremony of otherwise empty gestures and mostly uninspired selections. A two-time recipient of the Grand Read more →
Cannes 2014 | The Wonders (Alice Rohrwacher, Italy/Switzerland/Germany)
By Tom Charity For those “in the know,” the Grand Jury Prize accorded to Alice Rohrwacher’s second film was the one surprise on a night where Jane Campion’s jury otherwise played things safe and sure, dispensing awards with dutiful nods to all sides. (Libération described Read more →
Cannes 2014 | Saint Laurent (Bertrand Bonello, France)
By Boris Nelepo “Names, no doubt, are whimsical draughtsmen, giving us of people as well as of places sketches so unlike the reality that we often experience a kind of stupour when we have before our eyes in place of the imagined, the visible world Read more →
Issue 59 Editor’s Note
Another year, another two weeks wasted on the Riviera, but at least I got a tan. By now there’s no need to dwell on my feelings about the Festival de Cannes—any regular reader of this esteemed magazine knows them well enough. Yet despite my annual Read more →
Deaths of Cinema | The World in His Arms: Michael Glawogger, 1959-2014
By Christoph Huber “The theatre is not a classroom, so there is nothing to learn. But there is a lot to see,” Michael Glawogger quipped at the Flaherty seminar in 2010—just one of many choice aphorisms given (not just) on that occasion, demonstrating several of Read more →
Global Discoveries on DVD: Extras, Promos, Prices
By Jonathan Rosenbaum I shelled out $56.19 US (including postage) to acquire the definitive and restored, director-approved DVD of Providence (1977) from French Amazon, and I hasten to add that this was money well spent. Notwithstanding the passion and brilliance of Alain Resnais’ first two Read more →
Exploded View | Standish Lawder’s Corridor
By Chuck Stephens “An unknown observer is seen travelling through a bleak corridor. At the end of the corridor they see a naked woman, whom they are unable to reach as their trip seems to become increasingly twisted and looped.”—IMDb “storyline” description “An extraordinary exercise Read more →
Stop the Pounding Heart (Roberto Minervini, USA/Italy/Belgium
By Jay Kuehner Faith, so often deployed as narrative substance, is a phenomenon (or noumenon) that’s difficult to represent with film. It is often reduced to milieu, mood, or mere matter: think transcendental styles and stylized transcendance, either abstractly implied or imposed in formulary fashion Read more →
Issue 58 Table of Contents
This is the complete list of articles from magazine issue of Cinema Scope #58. We post selected articles from each issue on the site. For the complete content please subscribe to the magazine, or consider the instant digital download version. Features What is Boyhood? by Gabe Klinger Hardbodies and Read more →
Issue 58 Editor’s Note
By Mark Peranson The Cinema Scope Top Ten of 2013 1. L’inconnu du lac (Alain Guiraudie) 2. Norte, the End of History (Lav Diaz) 3. A Touch of Sin (Jia Zhangke) 4. What Now? Remind Me (Joaquim Pinto) 5. The Strange Little Cat (Ramon Zürcher) Read more →
Under the Skin (Jonathan Glazer, UK)
By Blake Williams In their attempt to adapt of one of those ornery “unfilmable” novels to the big screen, Charlie Kaufman and Spike Jonze transformed Susan Orlean’s The Orchid Thief into a meta-satire on film adaptations called, appropriately, Adaptation (2002). Following a short prologue in Read more →
The Grand Budapest Hotel (Wes Anderson, US/Germany)
By Julian Carrington. “Let’s make an agreement,” declares Anjelica Huston’s estranged matriarch to her trio of wayward sons in the penultimate scene of The Darjeeling Limited (2007): “We’ll stop feeling sorry for ourselves. It’s not very attractive.” Following the downbeat double-header of Darjeeling and The Read more →
- Issue 59 Table of Contents
Cinema Scope Online
- The Sting in the Tail: Bong Joon-ho’s Snowpiercer
- Karlovy Vary International Film Festival | Escape Artists: Bird People and Locke
- Hito Steyerl: Artless Dissidence
- Words Matter: James Gray on The Immigrant
- Sing Your Life: Matthew Porterfield’s I Used to Be Darker
- Digital Images: Images Festival 2014
- Ballbreaker: William Friedkin’s Sorcerer
- Persona Non Grata: Lars von Trier’s Nymphomaniac
- Cannes 2014: Who Let the Dogs Out?
- Cannes 2014 | Adieu au langage (Jean-Luc Godard, France)
- Cannes 2014 | Jauja (Lisandro Alonso, Argentina/Mexico/Denmark/France/Germany/USA/Brazil)
- Cannes 2014 | Winter Sleep (Nuri Bilge Ceylan, Turkey/Germany/France)
- Cannes 2014 | The Wonders (Alice Rohrwacher, Italy/Switzerland/Germany)
- Jenny Moir Find Me Guilty: Joshua Oppenheimer’s The Act of Killing Saw The Act of Killing last night, here in Chelmsford, England. Am still reeling from it. I was...
- Jim S. “No One Can Survive In That Water”: Jane Campion and Garth Davis’ Top of the Lake Your review is challenging and thoughtful, but it fails in one very significant respect. Campion...
- Lynn The Talented Mr. Allen: Woody Allen's Blue Jasmine Amen...match point was great
- Jesse F Global Discoveries on DVD | Monuments, Documents, and Diversions There's also an adequate English .srt file for Spectre floating around on the net that can be man...
- Rita Azevedo Gomes A Truck Full of Turkeys: Thoughts on Joaquim Pinto’s What Now? Remind Me Both (Joaquim and Nuno) put it in two straight words: What Now? then added two more: remember m...
- Robin E. Simmons This Is Martin Bonner (Chad Hartigan, US) A wonderful review of a singularly terrific film. Subtle and sly, it penetrates the heart where ...
- Luis Miguel Cintra A Truck Full of Turkeys: Thoughts on Joaquim Pinto’s What Now? Remind Me God bless you, Francisco Ferreira, for your paper on Joaquim's film! Yes, I also think it is a ve...
- Larry Gross The Beauty of Horror and the Horror of Beauty: An Encounter with Albert Serra ." I said that my films are unfuckable in the context of film criticism, in that you have to take...