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	<title>Cinema Scope &#187; Spotlight</title>
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		<title>The Cheshire Cat Quinzaine</title>
		<link>http://cinema-scope.com/spotlight/the-cheshire-cat-quinzaine/</link>
		<comments>http://cinema-scope.com/spotlight/the-cheshire-cat-quinzaine/#comments</comments>
		<pubDate>Sun, 24 Jun 2012 21:28:22 +0000</pubDate>
		<dc:creator>Robert Koehler</dc:creator>
				<category><![CDATA[CS51]]></category>
		<category><![CDATA[Festivals]]></category>
		<category><![CDATA[From The Magazine]]></category>
		<category><![CDATA[Spotlight]]></category>
		<category><![CDATA[Cannes 2012]]></category>
		<category><![CDATA[The Cheshire Cat Quinzaine]]></category>

		<guid isPermaLink="false">http://cinema-scope.com/?p=5714</guid>
		<description><![CDATA[By Robert Koehler It was either a sign of the measure of the complete revulsion felt by those who had worked with previous Quinzaine des Réalisateurs director Frédéric Boyer, or an expression of relief that the 44th edition was coming to a conclusion (or both), that new director Eduoard Waintrop was thanked from the Theatre [...]]]></description>
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		<slash:comments>1</slash:comments>
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		<title>Post Tenebras Lux (Carlos Reygadas, Mexico)</title>
		<link>http://cinema-scope.com/spotlight/post-tenebras-lux-carlos-reygadas-mexico/</link>
		<comments>http://cinema-scope.com/spotlight/post-tenebras-lux-carlos-reygadas-mexico/#comments</comments>
		<pubDate>Sun, 24 Jun 2012 21:26:06 +0000</pubDate>
		<dc:creator>Tom Charity</dc:creator>
				<category><![CDATA[CS51]]></category>
		<category><![CDATA[Festivals]]></category>
		<category><![CDATA[From The Magazine]]></category>
		<category><![CDATA[Spotlight]]></category>
		<category><![CDATA[Cannes 2012]]></category>
		<category><![CDATA[Carlos Reygadas]]></category>
		<category><![CDATA[Post Tenebras Lux]]></category>
		<category><![CDATA[Tom Charity]]></category>

		<guid isPermaLink="false">http://cinema-scope.com/?p=5711</guid>
		<description><![CDATA[By Tom Charity Hand it to Cannes: where else do art films get booed? On the rest of the planet, your typically well-adjusted art-house aficionado understands to appreciate whatever challenges the filmmaker has set…or the viewer walks out. To be sure, there are walkouts here too, but a good many hardier souls take it upon [...]]]></description>
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		<slash:comments>0</slash:comments>
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		<title>Holy Motors (Leos Carax, France)</title>
		<link>http://cinema-scope.com/spotlight/holy-motors-leos-carax-france/</link>
		<comments>http://cinema-scope.com/spotlight/holy-motors-leos-carax-france/#comments</comments>
		<pubDate>Sun, 24 Jun 2012 21:24:11 +0000</pubDate>
		<dc:creator>Dennis Lim</dc:creator>
				<category><![CDATA[CS51]]></category>
		<category><![CDATA[Festivals]]></category>
		<category><![CDATA[From The Magazine]]></category>
		<category><![CDATA[Spotlight]]></category>
		<category><![CDATA[Dennis Lim]]></category>
		<category><![CDATA[France]]></category>
		<category><![CDATA[Holy Motors]]></category>
		<category><![CDATA[Leos Carax]]></category>

		<guid isPermaLink="false">http://cinema-scope.com/?p=5707</guid>
		<description><![CDATA[By Dennis Lim The media gauntlet is so much a part of the Cannes infrastructure that Leos Carax’s decision to withdraw from it was both bold and telling. Despite having one of the most talked-about films at this year’s festival with Holy Motors, Carax granted no interviews, and his public pronouncements were confined to a [...]]]></description>
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		<slash:comments>7</slash:comments>
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		<title>Cannes 2012: The Forecast Calls for Pain</title>
		<link>http://cinema-scope.com/spotlight/cannes-2012-the-forecast-calls-pain/</link>
		<comments>http://cinema-scope.com/spotlight/cannes-2012-the-forecast-calls-pain/#comments</comments>
		<pubDate>Sun, 24 Jun 2012 21:19:46 +0000</pubDate>
		<dc:creator>Mark Peranson</dc:creator>
				<category><![CDATA[CS51]]></category>
		<category><![CDATA[Festivals]]></category>
		<category><![CDATA[From The Magazine]]></category>
		<category><![CDATA[Spotlight]]></category>

		<guid isPermaLink="false">http://cinema-scope.com/?p=5705</guid>
		<description><![CDATA[By Mark Peranson This year’s 65th anniversary Festival de Cannes provided the only logical answer to one of the persistent questions in any veteran journalist’s go-to kit: How can Cannes get any worse? Festival-wise, we have a rough idea of what we’re in for under the decade-long reign of Thierry Frémaux: a parade of (mainly) [...]]]></description>
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		<slash:comments>0</slash:comments>
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		<title>Amour (Michael Haneke, France/Austria)</title>
		<link>http://cinema-scope.com/spotlight/amour-michael-haneke-franceaustria/</link>
		<comments>http://cinema-scope.com/spotlight/amour-michael-haneke-franceaustria/#comments</comments>
		<pubDate>Wed, 20 Jun 2012 17:29:49 +0000</pubDate>
		<dc:creator>Christoph Huber</dc:creator>
				<category><![CDATA[CS51]]></category>
		<category><![CDATA[Festivals]]></category>
		<category><![CDATA[From The Magazine]]></category>
		<category><![CDATA[Spotlight]]></category>
		<category><![CDATA[Cannes]]></category>
		<category><![CDATA[Cannes 2012]]></category>

		<guid isPermaLink="false">http://cinema-scope.com/?p=5829</guid>
		<description><![CDATA[By Christoph Huber Besting Bille August by a year, it has taken Austrian director Michael Haneke only four to join what we cynical film critics like to call the Emir club: the allegedly prestigious circle of two-time Palme d’Or winners, hitherto occupied only by Kusturica (1985, 1995), August (1988, 1992), and the Dardennes (1999, 2005). [...]]]></description>
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		<slash:comments>0</slash:comments>
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		<title>Papirosen (Gastón Solnicki, Argentina)</title>
		<link>http://cinema-scope.com/spotlight/spotlight-papirosen-gaston-solnicki-argentina/</link>
		<comments>http://cinema-scope.com/spotlight/spotlight-papirosen-gaston-solnicki-argentina/#comments</comments>
		<pubDate>Tue, 20 Dec 2011 20:32:42 +0000</pubDate>
		<dc:creator>JayKuehner</dc:creator>
				<category><![CDATA[CS49]]></category>
		<category><![CDATA[From The Magazine]]></category>
		<category><![CDATA[Spotlight]]></category>
		<category><![CDATA[Papirosen]]></category>

		<guid isPermaLink="false">http://cinema-scope.com/?p=3620</guid>
		<description><![CDATA[By Jay Kuehner Genealogy is compelling as a means of accountability: ancestry as an historical index into the past that somehow illuminates the present. The desire for a legible personal history is always hopeful, taking memory as redemptive in its recovery of lost episodes, marginal lives, traumas and triumphs. And yet, for a film that [...]]]></description>
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		<slash:comments>0</slash:comments>
		</item>
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		<title>Slow Action / Sack Barrow / Two Years at Sea</title>
		<link>http://cinema-scope.com/spotlight/spotlight-slow-action-sack-barrow-two-years-at-sea/</link>
		<comments>http://cinema-scope.com/spotlight/spotlight-slow-action-sack-barrow-two-years-at-sea/#comments</comments>
		<pubDate>Tue, 20 Dec 2011 20:31:18 +0000</pubDate>
		<dc:creator>Robert Koehler</dc:creator>
				<category><![CDATA[CS49]]></category>
		<category><![CDATA[From The Magazine]]></category>
		<category><![CDATA[Spotlight]]></category>
		<category><![CDATA[Ben Rivers]]></category>
		<category><![CDATA[Two Years at Sea]]></category>

		<guid isPermaLink="false">http://cinema-scope.com/?p=3617</guid>
		<description><![CDATA[By Robert Koehler When we first found fire, we had our first movie. Once the flames began to curl around the wood, building up heat and its own thermal momentum, the fire took hold, and began to capture the imagination of those staring into the constantly flickering light, with stories and images emerging. For millennia, [...]]]></description>
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		<slash:comments>0</slash:comments>
		</item>
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		<title>La folie Almayer (Chantal Akerman, Belgium/France)</title>
		<link>http://cinema-scope.com/spotlight/spotlight-la-folie-almayer-by-eva-lynn-jagoe/</link>
		<comments>http://cinema-scope.com/spotlight/spotlight-la-folie-almayer-by-eva-lynn-jagoe/#comments</comments>
		<pubDate>Tue, 20 Dec 2011 20:29:16 +0000</pubDate>
		<dc:creator>Eva-Lynn Jagoe</dc:creator>
				<category><![CDATA[CS49]]></category>
		<category><![CDATA[From The Magazine]]></category>
		<category><![CDATA[Spotlight]]></category>
		<category><![CDATA[Almayer's Folly]]></category>
		<category><![CDATA[Chantal Akerman]]></category>

		<guid isPermaLink="false">http://cinema-scope.com/?p=3613</guid>
		<description><![CDATA[By Eva-Lynn Jagoe At the end of Joseph Conrad’s Almayer’s Folly, the title character, a benighted Dutch trader at a failed Malaysian outpost, is deserted by his beloved half-caste daughter Nina and determines to forget her before he dies. “He had a fixed idea that if he should not forget before he died he would [...]]]></description>
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		<slash:comments>0</slash:comments>
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		<title>Nana (Valérie Massadian, France)</title>
		<link>http://cinema-scope.com/spotlight/spotlight-nana-valerie-massadian-france/</link>
		<comments>http://cinema-scope.com/spotlight/spotlight-nana-valerie-massadian-france/#comments</comments>
		<pubDate>Thu, 29 Sep 2011 14:39:11 +0000</pubDate>
		<dc:creator>JayKuehner</dc:creator>
				<category><![CDATA[CS48]]></category>
		<category><![CDATA[From The Magazine]]></category>
		<category><![CDATA[Spotlight]]></category>

		<guid isPermaLink="false">http://cinema-scope.com/?p=3385</guid>
		<description><![CDATA[By Jay Kuehner Consider it a triumph of the medium that soon we may not speak of “in-between-ness” or indeterminacy in cinema (let alone “slow” or “contemplative”), such attributes having become subsumed by and substantive of film itself, commonly deployed to a point of sufficiency. In which case a film such as Valérie Massadian’s Nana, [...]]]></description>
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		<slash:comments>0</slash:comments>
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		<title>It’s the Earth Not the Moon (Gonçalo Tocha, Portugal)</title>
		<link>http://cinema-scope.com/spotlight/spotlight-its-the-earth-not-the-moon-goncalo-tocha-portugal/</link>
		<comments>http://cinema-scope.com/spotlight/spotlight-its-the-earth-not-the-moon-goncalo-tocha-portugal/#comments</comments>
		<pubDate>Thu, 29 Sep 2011 03:21:02 +0000</pubDate>
		<dc:creator>Robert Koehler</dc:creator>
				<category><![CDATA[CS48]]></category>
		<category><![CDATA[From The Magazine]]></category>
		<category><![CDATA[Spotlight]]></category>
		<category><![CDATA[Gonçalo Tocha]]></category>
		<category><![CDATA[It's the Earth Not the Moon]]></category>

		<guid isPermaLink="false">http://cinema-scope.com/?p=3335</guid>
		<description><![CDATA[By Robert Koehler The lure of islands, their fundamental thereness, their separation from, and fragile connections to, the rest of civilization, their existence as an ideal metonym for individual identity but also for the world as a whole—all these, and more, make islands powerful places for filmmakers to land upon. When they do, they’re hopefully [...]]]></description>
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		<slash:comments>2</slash:comments>
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