The Cinema Scope Top Ten of 2020 Interviews The Girl and the Spider *En plein air: Denis Côté on Hygiène
From the Magazine
Cinema Scope Issue 86 Table of Contents
The Cinema Scope Top Ten of 2020
1. Days (Tsai Ming-liang) 2. The Works and Days (of Tayoko Shiojiri in the Shiotani Basin) (C.W. Winter and Anders
Canadiana | Reading Aids: The Good Woman of Sichuan and Ste. Anne
When navigating the as-yet-unknown films of a festival program, nationality still provides a persuasive point of reference for some, a feeling underlined by the proud declarations issued by national funding organizations, promotional bodies, or particularly partisan members of the press once titles have been announced. This year’s reduced Berlinale Forum lineup also invites tenuous lines of this kind to be drawn (two films from Argentina, two films from Canada!), although the three Franco-German co-productions shot elsewhere say far more about how films are made in 2021.
TV or Not TV | The Politics of Dancing: Adam Curtis’ Can’t Get You Out of My Head
With the arrival of any new Adam Curtis film comes a deluge of coverage, commentaries, analysis, harangues, point-counterpoints, fact checks, further-reading lists, and good old-fashioned snark spread across an ever-expanding plethora of platforms. The resulting cacophony makes one of the fundamental appeals of Curtis’ practice—his seeming ability to wrest a temporary sense of order and coherence from a dense matrix of ideas, factoids, fragments, and audiovisual ephemera from deep within the BBC archive that otherwise threatens to feel as disordered and disorienting as everyday life—seem all the more valuable.
DVD | Reclaiming the Dream: Joyce Chopra’s Smooth Talk
Her reflection comes as a revelation. In the safety of her bedroom, Connie (Laura Dern), the 15-year-old protagonist of Joyce Chopra’s 1985 feature debut Smooth Talk (recently released on a Criterion Blu-ray), adjusts her new halter top in the mirror, its strings crisscrossed down the middle of her chest to hang limp over her exposed midriff. The camera observes her in profile as she spins and arches her back, her gaze glued to the supple body in the reflection, luxuriating in her new possession.
- Cinema Scope Issue 86 Table of Contents