Interviews

Sightsurf and Brainwave: Blake Williams’ PROTOTYPE by Michael Sicinski

In the Shadow of the Magic Kingdom: Sean Baker on The Florida Project by Adam Cook

Giving Credibility to the Universe: Hélène Cattet and Bruno Forzani on Laissez bronzer les cadavres by Christoph Huber

Features

The Uses of Disenchantment: Guillermo del Toro’s The Shape of Water by Adam Nayman

The Limits of Control: Lucien Castaing-Taylor & Véréna Paravel’s Caniba by Samuel La France

For Future History: Barbet Schroeder’s Trilogy of Evil by Steve Macfarlane

The Ties that Bind: On Recent Work by Laura Huertas Millán by Jesse Cumming

Sohrab Shahid Saless: Enter the Void by Christopher Small

Revisiting Marco Ferreri: The Veterinarian of Wo\Mankind by Celluloid Liberation Front

Spotlight: Fall Festival Highlights

3/4 by Jordan Cronk

Cocote by Jay Kuehner

Dragonfly Eyes by Shelly Kraicer

Foxtrot by Michael Sicinski

The Green Fog by Lawrence Garcia

Madame Hyde by Blake Williams

The Wandering Soap Opera by James Lattimer

Columns

Editor’s Note by Mark Peranson

Film/Art

Just Another Notion: Mike Henderson, A Painter Who Makes Films by Phil Coldiron

Books

Hollywood, Read: Slow Writing: Thom Andersen on Cinema by Sean Rogers

TV or Not TV

Psycho Killer, qu’est-ce que c’est? David Fincher’s Mindhunter by Neil Bahadur

Global Discoveries on DVD by Jonathan Rosenbaum

Canadiana

They Are What They Are: Future//Present Shorts by Josh Cabrita

Exploded View: Stan Brakhage’s Metaphors on Vision by Chuck Stephens

Currency

Phantom Thread by Robert Koehler

Three Billboards Outside Ebbing, Missouri by Angelo Muredda

Dawson City: Frozen Time by Alicia Fletcher

Blade Runner 2049 by Jason Anderson

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From the Magazine

  • Cinema Scope 79 Table of Contents
    Cinema Scope 79 Table of Contents

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    I’ve exited the last several Bruno Dumont films wondering—only somewhat in jest—whether or not their maker had gone completely insane. Until 2014, Dumont was notorious for his straight-faced, neo-Bressonian, severely severe dramas that interrogated the intersection of spiritualism and material form. More →

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    Undersung filmmaker Ken Kobland’s strange, sumptuous slice of classically minded surrealism, Flaubert Dreams of Travel But the Illness of His Mother Prevents It, created in 1986 in collaboration with The Wooster Group (America’s experimental-theatre ensemble extraordinaire) is, too, a creature born from Flaubert’s polymorphous bestiary. More →