Cinema Scope | Phil Coldiron

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Phil Coldiron

All the Fountains of the Great Deep: Artavazd Pelechian’s La Nature

By Phil Coldiron In CS85, Features, From The Magazine

Discrete Charms: Rotterdam’s Tiger Short Competition

By Phil Coldiron In CS82, Web Only

Pleasurable Surfaces: The Films of Zachary Epcar

By Phil Coldiron In Web Only

Billy (Zachary Epcar, US) — Wavelengths

By Phil Coldiron In Cinema Scope Online, TIFF 2019

Liberté (Albert Serra, France/Spain/Portugal/Germany) — Wavelengths

By Phil Coldiron In Cinema Scope Online, TIFF 2019

Film/Art | Manhattan Style: Andy Warhol’s Empire

By Phil Coldiron In Columns, CS78, Film - Art, From The Magazine

First Person Plural: On Orson Welles’ The Other Side of the Wind

By Phil Coldiron In CS76, Features, From The Magazine

Do It Again: On Ricky D’Ambrose’s Words and Images

By Phil Coldiron In CS74, Features, From The Magazine

Ahead of Its Reflection: Ben Russell’s Good Luck

By Phil Coldiron In CS72, Features, From The Magazine

BOOM FOR REAL The Late Teenage Years of Jean-Michel Basquiat (Sara Driver, USA) — TIFF Docs

By Phil Coldiron In Cinema Scope Online, TIFF 2017

Good Luck (Ben Russell, France/Germany) — Wavelengths

By Phil Coldiron In Cinema Scope Online, TIFF 2017

The Nothing Factory (Pedro Pinho, Portugal) — Wavelengths

By Phil Coldiron In Cinema Scope Online, TIFF 2017

PROTOTYPE (Blake Williams, Canada) — Wavelengths

By Phil Coldiron In Cinema Scope Online, TIFF 2017

Simulation (Abed Abest, Iran) — Discovery

By Phil Coldiron In Cinema Scope Online, TIFF 2017

Would You Like to See a Magic Trick?: Basma Alsharif’s Ouroboros and its Contexts

By Phil Coldiron In CS71, Features, From The Magazine, Interviews

Moonlight (Barry Jenkins, US)

By Phil Coldiron In CS69, From The Magazine, Web Only

Film/Art | Farewell to Storyville: John Akomfrah’s New Essays

By Phil Coldiron In Columns, CS68, From The Magazine

Necessary Means: Isiah Medina on 88:88

By Phil Coldiron In CS64, From The Magazine, Interviews

True Colours: On Margaret Honda’s Style

By Phil Coldiron In CS66, Features, From The Magazine

TIFF 2015 | Cinema Scope 64 Preview | 88:88 (Isiah Medina, Canada)—Wavelengths

By Phil Coldiron In Cinema Scope Online, TIFF 2015

Carol (Todd Haynes, US)

By Phil Coldiron In CS65, Currency, From The Magazine

Implications of a Totality: Frames for the Films of Joseph Bernard

By Phil Coldiron In CS63, Features, From The Magazine

The Funniest Joke in the World: On Rick Alverson’s Entertainment

By Phil Coldiron In CS62, Features, From The Magazine

Don’t Look Back: Life and Death and the Films of Mary Helena Clark

By Phil Coldiron In CS61, Features, From The Magazine

Flicker Flicker Flicker Blam Pow Pow: Five Films by Jodie Mack

By Phil Coldiron In CS57, Features, From The Magazine

The End of Cinema: La última película

By Phil Coldiron In CS56, Features, From The Magazine

Pretending That Life Has No Meaning: Paul Schrader’s The Canyons

By Phil Coldiron In CS55, Features, From The Magazine

Middlegame: An Interview with Andrew Bujalski

By Phil Coldiron In CS54, From The Magazine, Interviews

Blood and Thunder: Enter the Leviathan

By Phil Coldiron In CS52, Features, From The Magazine

Eight Footnotes on a Brief Description of Footnotes to a House of Love, and Other Films by Laida Lertxundi

By Phil Coldiron In CS51, Features, From The Magazine

Talking Pictures: Jean-Luc Godard’s Introduction to a True History of Cinema and Television

By Phil Coldiron In Cinema Scope Online

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From the Magazine
- Cinema Scope Issue 85 Table of Contents
  
  FEATURES The Play for Tomorrow: Steve McQueen’s Small Axe by Michael Sicinski The Crowd is Dead, Long Live the Crowd! by
- The Play for Tomorrow: Steve McQueen’s Small Axe
  
  By Michael Sicinski One of the best known of Steve McQueen’s early video works is Deadpan (1997), a four-minute, 35-second
- The Crowd Is Dead, Long Live the Crowd!
  
  Les misérables By Erika Balsom for RMC 1. It was a total coincidence and yet it felt freighted with meaning:
- All the Fountains of the Great Deep: Artavazd Pelechian’s La Nature
  
  By Phil Coldiron Artists who write clearly about their work run a serious risk: that they will be taken at
- Minority Report: Armond White Wants to Make Spielberg Great Again
  
  By Adam Nayman The “About the Author” section of Armond White’s new critical anthology does not disappoint. In the space

Cinema Scope Issue 85 Table of Contents

FEATURES The Play for Tomorrow: Steve McQueen’s Small Axe by Michael Sicinski The Crowd is Dead, Long Live the Crowd! by Erika Balsom All the Fountains More →
The Play for Tomorrow: Steve McQueen’s Small Axe

By Michael Sicinski One of the best known of Steve McQueen’s early video works is Deadpan (1997), a four-minute, 35-second loop in which the artist More →
The Crowd Is Dead, Long Live the Crowd!

Les misérables By Erika Balsom for RMC 1. It was a total coincidence and yet it felt freighted with meaning: when I returned to the More →
All the Fountains of the Great Deep: Artavazd Pelechian’s La Nature

By Phil Coldiron Artists who write clearly about their work run a serious risk: that they will be taken at their word. In much of More →
Minority Report: Armond White Wants to Make Spielberg Great Again

By Adam Nayman The “About the Author” section of Armond White’s new critical anthology does not disappoint. In the space of four short paragraphs, White More →