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	<title>Cinema Scope &#187; Currency</title>
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	<link>http://cinema-scope.com</link>
	<description>Expanding the Frame on International Cinema</description>
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		<title>Boring Twenties: Baz Luhrmann’s The Great Gatsby</title>
		<link>http://cinema-scope.com/currency/boring-twenties-baz-luhrmanns-the-great-gatsby/</link>
		<comments>http://cinema-scope.com/currency/boring-twenties-baz-luhrmanns-the-great-gatsby/#comments</comments>
		<pubDate>Fri, 10 May 2013 22:25:39 +0000</pubDate>
		<dc:creator>Adam Nayman</dc:creator>
				<category><![CDATA[Cinema Scope Online]]></category>
		<category><![CDATA[Currency]]></category>
		<category><![CDATA[Baz Luhrmann]]></category>
		<category><![CDATA[Carey Mulligan]]></category>
		<category><![CDATA[Leonardo DiCaprio]]></category>
		<category><![CDATA[The Great Gatsby]]></category>

		<guid isPermaLink="false">http://cinema-scope.com/?p=7312</guid>
		<description><![CDATA[By Adam Nayman Before it’s even begun, Cannes 2013 is off to a dubious start with The Great Gatsby. Even if nobody really expected this latest version of F. Scott Fitzgerald’s epochal novel to be worthy (of an Opening Night slot or anything else), it doesn’t even manage to be outrageous. For long stretches Baz [...]]]></description>
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		<slash:comments>0</slash:comments>
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		<title>By the Book: Evil Dead</title>
		<link>http://cinema-scope.com/currency/by-the-book-evil-dead/</link>
		<comments>http://cinema-scope.com/currency/by-the-book-evil-dead/#comments</comments>
		<pubDate>Fri, 05 Apr 2013 17:32:39 +0000</pubDate>
		<dc:creator>Adam Nayman</dc:creator>
				<category><![CDATA[Cinema Scope Online]]></category>
		<category><![CDATA[Currency]]></category>

		<guid isPermaLink="false">http://cinema-scope.com/?p=7279</guid>
		<description><![CDATA[By Adam Nayman In Fede Alvarez’s Evil Dead—which pointedly but pointlessly drops the definite article from its title—the demonic spirit is willing and the flesh is as weak as it needs to be: not since Carter Smith’s underrated 2006 adaptation of The Ruins (or maybe Danny Boyle’s 127 Hours) has a movie focused so intently [...]]]></description>
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		<slash:comments>0</slash:comments>
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		<title>“No One Can Survive In That Water”: Jane Campion and Garth Davis’ Top of the Lake</title>
		<link>http://cinema-scope.com/currency/no-one-can-survive-in-that-water-jane-campion-and-garth-davis-top-of-the-lake/</link>
		<comments>http://cinema-scope.com/currency/no-one-can-survive-in-that-water-jane-campion-and-garth-davis-top-of-the-lake/#comments</comments>
		<pubDate>Mon, 01 Apr 2013 02:08:19 +0000</pubDate>
		<dc:creator>Michael Sicinski</dc:creator>
				<category><![CDATA[Cinema Scope Online]]></category>
		<category><![CDATA[Currency]]></category>

		<guid isPermaLink="false">http://cinema-scope.com/?p=7263</guid>
		<description><![CDATA[By Michael Sicinski Although the new miniseries Top of the Lake had its world premiere this past January at the Sundance Film Festival, it is darkly fortuitous that it should have its television run two months later. March has seen the emergence of details from the rape of a young woman in Steubenville, Ohio, material [...]]]></description>
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		<slash:comments>0</slash:comments>
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		<title>You Ain’t Seen Nothin’ Yet (Alain Resnais, France)</title>
		<link>http://cinema-scope.com/currency/you-aint-seen-nothin-yet-alain-resnais-france/</link>
		<comments>http://cinema-scope.com/currency/you-aint-seen-nothin-yet-alain-resnais-france/#comments</comments>
		<pubDate>Thu, 21 Mar 2013 05:07:53 +0000</pubDate>
		<dc:creator>Blake Williams</dc:creator>
				<category><![CDATA[CS54]]></category>
		<category><![CDATA[Currency]]></category>
		<category><![CDATA[From The Magazine]]></category>

		<guid isPermaLink="false">http://cinema-scope.com/?p=7127</guid>
		<description><![CDATA[By Blake Williams That Alain Resnais would endow his follow-up to his neurologically scrambled masterpiece Les herbes folles (2009) with the title You Ain’t Seen Nothin’ Yet seems like a goad to premature eulogists. As Resnais would be turning 90 a fortnight after the film’s Cannes premiere last year, many journalists in attendance presumptuously deemed [...]]]></description>
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		<title>Django Unchained (Quentin Tarantino, US)</title>
		<link>http://cinema-scope.com/currency/django-unchained-quentin-tarantino-us/</link>
		<comments>http://cinema-scope.com/currency/django-unchained-quentin-tarantino-us/#comments</comments>
		<pubDate>Thu, 21 Mar 2013 05:06:02 +0000</pubDate>
		<dc:creator>Quintin</dc:creator>
				<category><![CDATA[CS54]]></category>
		<category><![CDATA[Currency]]></category>
		<category><![CDATA[From The Magazine]]></category>
		<category><![CDATA[Django Unchained]]></category>
		<category><![CDATA[Lincoln]]></category>
		<category><![CDATA[Quentin Tarantino]]></category>
		<category><![CDATA[Quintín]]></category>
		<category><![CDATA[Review]]></category>
		<category><![CDATA[Steven Spielberg]]></category>

		<guid isPermaLink="false">http://cinema-scope.com/?p=7125</guid>
		<description><![CDATA[By Quintín In one of the first scenes of Steven Spielberg’s Lincoln (2012), a black soldier stands proudly and defiantly in front of the President and, without technically overstepping the bounds of respectfulness, argues that African-Americans (it sounds ridiculous to use that term in this context, doesn’t it?) deserve pay equal to that of white [...]]]></description>
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		<slash:comments>2</slash:comments>
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		<title>Passion (Brian De Palma, France/Germany)</title>
		<link>http://cinema-scope.com/currency/passion-brian-de-palma-francegermany/</link>
		<comments>http://cinema-scope.com/currency/passion-brian-de-palma-francegermany/#comments</comments>
		<pubDate>Thu, 21 Mar 2013 01:28:37 +0000</pubDate>
		<dc:creator>Andrew Tracy</dc:creator>
				<category><![CDATA[CS54]]></category>
		<category><![CDATA[Currency]]></category>
		<category><![CDATA[From The Magazine]]></category>
		<category><![CDATA[Brian De Palma]]></category>
		<category><![CDATA[France]]></category>
		<category><![CDATA[Germany]]></category>
		<category><![CDATA[Passion]]></category>

		<guid isPermaLink="false">http://cinema-scope.com/?p=7136</guid>
		<description><![CDATA[By Andrew Tracy Allow for the possibility that perspective can trump prejudice, I suppose. Eight months after seeing Brian De Palma’s Passion and thinking it ludicrous (probably intentional) and dreadful (presumably not), I’ve since scaled it back to the former—though the fact that it isn’t dreadful does not ipso facto mean it’s any fucking good. [...]]]></description>
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		<title>And Everything Is Not Going Fine: Steven Soderbergh&#8217;s Side Effects</title>
		<link>http://cinema-scope.com/currency/and-everything-is-not-going-fine-steven-soderberghs-side-effects/</link>
		<comments>http://cinema-scope.com/currency/and-everything-is-not-going-fine-steven-soderberghs-side-effects/#comments</comments>
		<pubDate>Tue, 12 Feb 2013 19:34:27 +0000</pubDate>
		<dc:creator>Vadim Rizov</dc:creator>
				<category><![CDATA[Cinema Scope Online]]></category>
		<category><![CDATA[Currency]]></category>
		<category><![CDATA[Catherine Zeta-Jones]]></category>
		<category><![CDATA[Channing Tatum]]></category>
		<category><![CDATA[Jude Law]]></category>
		<category><![CDATA[Rooney Mara]]></category>
		<category><![CDATA[Side Effects]]></category>
		<category><![CDATA[Steven Soderbergh]]></category>

		<guid isPermaLink="false">http://cinema-scope.com/?p=7019</guid>
		<description><![CDATA[By Vadim Rizov Critics arriving late to press screenings of Steven Soderbergh’s Side Effects were greeted by an unusual sign: &#8220;Dear Invited Guest, due to the non-linear nature of this film, it would be unrewarding for you to enter at this point. We look forward to welcoming you at the next screening. Best regards, The [...]]]></description>
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		<slash:comments>0</slash:comments>
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		<item>
		<title>Fight Club: Judd Apatow&#8217;s This Is 40</title>
		<link>http://cinema-scope.com/currency/fight-club-judd-apatows-this-is-40/</link>
		<comments>http://cinema-scope.com/currency/fight-club-judd-apatows-this-is-40/#comments</comments>
		<pubDate>Fri, 21 Dec 2012 21:09:22 +0000</pubDate>
		<dc:creator>Adam Nayman</dc:creator>
				<category><![CDATA[Cinema Scope Online]]></category>
		<category><![CDATA[Currency]]></category>
		<category><![CDATA[Judd Apatow]]></category>
		<category><![CDATA[Leslie Mann]]></category>
		<category><![CDATA[Megan Fox]]></category>
		<category><![CDATA[Paul Rudd]]></category>
		<category><![CDATA[This Is 40]]></category>

		<guid isPermaLink="false">http://cinema-scope.com/?p=6900</guid>
		<description><![CDATA[By Adam Nayman When Paul Rudd declared midway through Knocked Up that marriage was like a &#8220;tense, unfunny episode of Everybody Loves Raymond,&#8221; it was meant as a warning to a friend. As it turns out, he was also offering an advance review of This Is 40. Judd Apatow&#8217;s &#8220;sort of sequel&#8221; to his career-and-industry [...]]]></description>
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		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>Argo (Ben Affleck, US)</title>
		<link>http://cinema-scope.com/currency/argo-ben-affleck-us/</link>
		<comments>http://cinema-scope.com/currency/argo-ben-affleck-us/#comments</comments>
		<pubDate>Sun, 16 Dec 2012 19:54:54 +0000</pubDate>
		<dc:creator>Quintin</dc:creator>
				<category><![CDATA[CS53]]></category>
		<category><![CDATA[Currency]]></category>
		<category><![CDATA[From The Magazine]]></category>
		<category><![CDATA[Alan Arkin]]></category>
		<category><![CDATA[Argo]]></category>
		<category><![CDATA[Ben Affleck]]></category>
		<category><![CDATA[John Goodman]]></category>

		<guid isPermaLink="false">http://cinema-scope.com/?p=6840</guid>
		<description><![CDATA[By Quintín Argo might be thought of as Inglourious Basterds (2009) in reverse, or at least as a reply to Quentin Tarantino’s film. While in Inglourious Basterds, cinema teaches reality how things should have worked, Argo presents an example of how things really worked with the aid of cinema. Although extracting a few hostages from [...]]]></description>
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		<slash:comments>0</slash:comments>
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		<item>
		<title>Spring Breakers (Harmony Korine, US)</title>
		<link>http://cinema-scope.com/currency/spring-breakers-harmony-korine-us/</link>
		<comments>http://cinema-scope.com/currency/spring-breakers-harmony-korine-us/#comments</comments>
		<pubDate>Sun, 16 Dec 2012 19:51:40 +0000</pubDate>
		<dc:creator>Blake Williams</dc:creator>
				<category><![CDATA[CS53]]></category>
		<category><![CDATA[Currency]]></category>
		<category><![CDATA[From The Magazine]]></category>
		<category><![CDATA[Harmony Korine]]></category>
		<category><![CDATA[James Franco]]></category>
		<category><![CDATA[Selena Gomez]]></category>
		<category><![CDATA[Spring Breakers]]></category>
		<category><![CDATA[Vanessa Hudgens]]></category>

		<guid isPermaLink="false">http://cinema-scope.com/?p=6835</guid>
		<description><![CDATA[By Blake Williams Only three years later, Harmony Korine has essentially remade Trash Humpers. In so doing, he has also made a few changes, replacing the cretinous geezers, low-grade VHS presentation, and cacophonous sound mix with heavenly creatures, high-def radiance and candy-pop shellac. If that sounds like an altogether distinct and wholly unrelated film, it’s [...]]]></description>
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		<slash:comments>0</slash:comments>
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