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Issue 84 Table of Contents

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Cinema Scope 83 Table of Contents

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Cinema Scope 82: Table of Contents

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Cinema Scope 81 Table of Contents

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Cinema Scope 80 Table of Contents

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Cinema Scope 79 Table of Contents

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Cinema Scope 78 Table of Contents

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Cinema Scope 77 Table of Contents

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Cinema Scope 76 Table of Contents

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Cinema Scope 75 Contents

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Cinema Scope 74 Contents

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Issue 73 Table of Contents

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Issue 72: Table of Contents

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Cinema Scope Magazine Issue 68

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Issue 70: Table of Contents

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Issue 69: Table of Contents

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Issue 67: Table of Contents

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Issue 66 Table of Contents

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Issue 65 Table of Contents

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Issue 64 Table of Contents

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Issue 63 Table of Contents

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Issue 62 Table of Contents

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Issue 61 Table of Contents

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Issue 60 Table of Contents

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Issue 59 Table of Contents

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Declarations of Independence: A Conversation Between Alex Ross Perry and Joel Potrykus

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Issue 58 Table of Contents

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Issue 57 Table of Contents

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Cinema Scope Issue 56

Issue 56 Table of Contents

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This Is Martin Bonner (Chad Hartigan, US)

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Issue 55 Table of Contents

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Sex, Death, and Geometry: A Conversation Between Alain Guiraudie and João Pedro Rodrigues on L’inconnu du lac

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One-Man Band: A Conversation with Matt Johnson About The Dirties

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Issue 54 Table of Contents

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The Cinema Scope Top Ten of 2012

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Issue 53 Table of Contents

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Issue 52 Table of Contents

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World Out of Order: Tony Scott’s Vertigo

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Issue 51 Table of Contents

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Issue 50: Table of Contents

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Welcome

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Cinema Scope Top Ten Films of the Decade

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We Need to Talk About Terry: A Roundtable on The Tree of Life

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Issue 30

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From the Magazine
- Issue 84 Table of Contents
  
  INTERVIEWS *The Act of Living: GianfrancThe Act of Living: Gianfranco Rosi on Notturnoo Rosi on Notturno By Mark Peranson*Reconstructing Violence:
- The Act of Living: Gianfranco Rosi on Notturno
  
  “The night scares me so much,” confesses a courageous Yazidi pre-teen girl to a therapist, remembering the period when she and her younger sister were captured by ISIS. Anyone who was seen crying would be killed, they were told; it turned out to be a vacant threat, but the sisters were still beaten, and now they are attempting to exorcise their memories by drawing pictures of them. Does it help? We never find out.
- Reconstructing Violence: Nicolás Pereda on Fauna
  
  There’s a point in nearly every Nicolás Pereda film when the narrative is either reoriented or upended in some way. In the past this has occurred through bifurcations in story structure or via ruptures along a given film’s docufiction fault line. Pereda’s ninth feature, Fauna, extends this tradition, though its means of execution and conceptual ramifications represent something new for the 38-year-old Mexican-Canadian filmmaker.
- I Lost It at the Movies: Charlie Kaufman’s Antkind and I’m Thinking of Ending Things
  
  “It’s all planned, but it isn’t thought out,” wrote Pauline Kael in her review of A Woman Under the Influence (1974), a nifty bit of critical jiu-jitsu turning John Cassavetes’ much-theorized—and, during Kael’s reign at The New Yorker, much-derided—technique of spontaneous improvisation within a dramatic framework against him.
- Open Ticket: The Long, Strange Trip of Ulrike Ottinger
  
  One of the most surprising things about Ulrike Ottinger’s new documentary Paris Calligrammes is how accessible it is. Some cinephiles may be familiar with Ottinger based on an 11-year period of mostly fictional productions that were adjacent to the New German Cinema but, for various reasons, were never entirely subsumed within that rubric. Others are quite possibly more aware of her later work in documentary, in particular her commitment to a radical form of experimental ethnographic cinema.

Issue 84 Table of Contents

INTERVIEWS *The Act of Living: GianfrancThe Act of Living: Gianfranco Rosi on Notturnoo Rosi on Notturno By Mark Peranson*Reconstructing Violence: Nicolás Pereda on Fauna By More →
The Act of Living: Gianfranco Rosi on Notturno

“The night scares me so much,” confesses a courageous Yazidi pre-teen girl to a therapist, remembering the period when she and her younger sister were captured by ISIS. Anyone who was seen crying would be killed, they were told; it turned out to be a vacant threat, but the sisters were still beaten, and now they are attempting to exorcise their memories by drawing pictures of them. Does it help? We never find out. More →
Reconstructing Violence: Nicolás Pereda on Fauna

There’s a point in nearly every Nicolás Pereda film when the narrative is either reoriented or upended in some way. In the past this has occurred through bifurcations in story structure or via ruptures along a given film’s docufiction fault line. Pereda’s ninth feature, Fauna, extends this tradition, though its means of execution and conceptual ramifications represent something new for the 38-year-old Mexican-Canadian filmmaker. More →
I Lost It at the Movies: Charlie Kaufman’s Antkind and I’m Thinking of Ending Things

“It’s all planned, but it isn’t thought out,” wrote Pauline Kael in her review of A Woman Under the Influence (1974), a nifty bit of critical jiu-jitsu turning John Cassavetes’ much-theorized—and, during Kael’s reign at The New Yorker, much-derided—technique of spontaneous improvisation within a dramatic framework against him. More →
Open Ticket: The Long, Strange Trip of Ulrike Ottinger

One of the most surprising things about Ulrike Ottinger’s new documentary Paris Calligrammes is how accessible it is. Some cinephiles may be familiar with Ottinger based on an 11-year period of mostly fictional productions that were adjacent to the New German Cinema but, for various reasons, were never entirely subsumed within that rubric. Others are quite possibly more aware of her later work in documentary, in particular her commitment to a radical form of experimental ethnographic cinema. More →