Cinema Scope | From The Magazine

Currently viewing the category: "From The Magazine"

Cinema Scope Issue 86 Table of Contents

By Cinema Scope In CS86, From The Magazine, Table of Contents

The Cinema Scope Top Ten of 2020

By Cinema Scope In CS86, From The Magazine, Top Ten

Gag Orders: The Trial of the Chicago 7 and Judas and the Black Messiah

By Andrew Tracy In CS86, Features, From The Magazine

Bobby Seale makes a cameo of sorts midway through Judas and the Black Messiah, as Martin Sheen’s porcine J. Edgar Hoover—checking in personally on the progress of the FBI’s campaign against Chicago Black Panther Party chairman Fred Hampton (Daniel Kaluuya)—is shown an artist’s sketch of the BPP’s national chairman gagged and shackled in the courtroom during the Chicago Conspiracy Trial. This revolting spectacle understandably serves as the mid-film dramatic highpoint of The Trial of the Chicago 7, when the repeated, suitably indignant demands by Seale (Yahya Abdul-Mateen II) to serve as his own defense counsel in the absence of his hospitalized lawyer—and presiding judge Julius Hoffman’s (Frank Langella) incredible refusal to grant this right, instead directing that Seale’s defense should be undertaken by the representatives for the other defendants—ultimately lead to him being bodily removed from the courtroom by marshals and returned in chains. That image of a defiant Black man, forcibly silenced and immobilized in a hall of American justice, became one of William Burroughs’ “frozen moment[s] at the end of the newspaper fork,” when everyone—including those who would applaud it—can see what they’re being fed.

The Primacy of Perception: Ramon & Silvan Zürcher on The Girl and the Spider

By Blake Williams In CS86, From The Magazine, Interviews

Near the midpoint of The Girl and the Spider—Ramon and Silvan Zürcher’s overdue, much anticipated follow-up to their masterful debut feature, The Strange Little Cat (2013)—a character launches into another of the Zürcher brothers’ distinctive anecdotal monologues. Mara (Henriette Confurius), who is as close as this film gets to a protagonist, describes for her neighbour, Kerstin (Dagna Litzenberger-Vinet), an incident that occurred the previous day between herself and her newly ex-roommate (and perhaps ex-girlfriend) Lisa (Liliane Amuat). “I was in my room while Lisa was on the toilet,” she recounts. “She asked me to bring her a roll of toilet paper. Instead of giving it to her, I walked past the door from left to right, from Lisa’s point of view.” The image cuts to the scene while she recalls it, privileging us with a more objective account of the incident: a fixed shot showing Mara stand up from her desk, grab a package of toilet paper, and march past the door, her arms outstretched like a zombie.

Sound of Metal (Darius Marder, US)

By Angelo Muredda In CS86, Currency, From The Magazine

Exploded View: Steina & Woody Vasulka

By Chuck Stephens In CS86, Exploded View, From The Magazine

Canadiana | Reading Aids: The Good Woman of Sichuan and Ste. Anne

By James Lattimer In Canadiana, CS86, From The Magazine

TV or Not TV | The Politics of Dancing: Adam Curtis’ Can’t Get You Out of My Head

By Jason Anderson In Columns, CS86, From The Magazine, TV or not TV

DVD | Reclaiming the Dream: Joyce Chopra’s Smooth Talk

By Beatrice Loayza In Columns, CS86, DVD Reviews, From The Magazine

En plein air: Denis Côté on Hygiène sociale

By Jordan Cronk In CS86, From The Magazine, Interviews

Journey to the Centre of the Earth: Fern Silva’s Itinerary

By Michael Sicinski In CS86, Features, From The Magazine

Fern Silva’s films cannot be described as ethnography, personal/mythopoeic film, or essay filmmaking, although they often partake of all of those modes. Though his films are rooted in particular places and cultural spheres, they assiduously avoid the rhetorical or declarative traps of typical nonfiction filmmaking. Instead, they envelop the viewer in a diffuse but concrete ambiance, conveying the palpability of land and water, the weight of the air surrounding hills and trees. They represent a doubled physicality—the world as unavoidably there, inseparable from the cinematic substrate of 16mm filmmaking itself—and the result is a hybridized form of documentary “fiction,” in the classical Latin sense. Silva’s films are made, formed in the interface between reality and those human and mechanical processes that bring it into being.

Modern Mabuse: On Richard Kelly’s Southland Tales

By Josh Cabrita In CS86, Features, From The Magazine

Editor’s Note: Cinema Scope Magazine Issue 86

By Mark Peranson In Columns, CS86, From The Magazine

Is pandemic cinema a trend? Sure, because it ain’t a genre, and, one day—like a miracle—it will disappear. Pandemic cinema is appealing because anything can be pandemic cinema, and indeed everything now is. We can turn anything into PC because that’s what we desire, thanks in no small part to a culture that has fully accepted conspiratorial thinking. In this issue, though, there are films covered that one can point to as expressing something that hits on the contemporary condition and sticks—films that are mainly interior (people trapped in enclosed spaces, people’s lives subjected to strict regulation, both of which apply to the latest from the Zürcher brothers, The Girl and the Spider), or exterior (people expressing our collective will to be free of said enclosed spaces or ideologies and roam free, as in Dominik Graf’s Fabian), or both (Denis Côté’s Hygiène sociale, the ur-pandemic text, a term I use just to raise the hackles of its author).

Sundance 2021: In the Year of COVID

By Robert Koehler In CS86, Festivals, From The Magazine, Spotlight

A Glitch in the Matrix (Rodney Ascher, US)

By Gabrielle Marceau In CS86, Currency, From The Magazine

Cinema Scope Issue 85 Table of Contents

By Cinema Scope In CS85, From The Magazine, Table of Contents

The Play for Tomorrow: Steve McQueen’s Small Axe

By Michael Sicinski In CS85, Features, From The Magazine

The Crowd Is Dead, Long Live the Crowd!

By Erika Balsom In CS85, Features, From The Magazine

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

By Phil Coldiron In CS85, Features, From The Magazine

Minority Report: Armond White Wants to Make Spielberg Great Again

By Adam Nayman In CS85, Features, From The Magazine

F for Fake: Mank

By Andrew Tracy In CS85, Features, From The Magazine

I Thought I Was Seeing Palestinians: On Kamal Aljafari

By Kaleem Hawa In CS85, Features, From The Magazine

Beginning (Dea Kulumbegashvili, Georgia/France)

By Lawrence Garcia In CS85, Fall Festival Spotlight, Festivals, From The Magazine

The Calming (Song Fang, China)

By Courtney Duckworth In CS85, Fall Festival Spotlight, Festivals, From The Magazine

Genus Pan (Lav Diaz, Philippines)

By Jesse Cumming In CS85, Fall Festival Spotlight, Festivals, From The Magazine

Her Socialist Smile (John Gianvito, US)

By Jordan Cronk In Columns, CS85, Fall Festival Spotlight, From The Magazine

Editor’s Note Cinema Scope Magazine Issue 85

By Mark Peranson In Columns, CS85, From The Magazine

There Are Not Thirty-Six Ways of Showing a Man Getting on a Horse (Nicolás Zukerfeld, Argentina)

By Devika Girish In CS85, Fall Festival Spotlight, Festivals, From The Magazine, Uncategorized

Global Discoveries on DVD: The Importance of Not Being an Auteur

By Jonathan Rosenbaum In Columns, CS85, DVD Reviews, From The Magazine

Exploded View | Michael Snow’s Cover to Cover

By Chuck Stephens In Columns, CS85, Exploded View, From The Magazine

Nomadland (Chloe Zhao, US)

By Robert Koehler In CS85, Currency, From The Magazine

Hillbilly Elegy (Ron Howard, US)

By Darren Hughes In CS85, Currency, From The Magazine

Issue 84 Table of Contents

By Cinema Scope In CS84, From The Magazine, Table of Contents

The Act of Living: Gianfranco Rosi on Notturno

By Mark Peranson In CS84, From The Magazine, Interviews

Reconstructing Violence: Nicolás Pereda on Fauna

By Jordan Cronk In CS84, From The Magazine, Interviews

I Lost It at the Movies: Charlie Kaufman’s Antkind and I’m Thinking of Ending Things

By Adam Nayman In CS84, Features, From The Magazine

Open Ticket: The Long, Strange Trip of Ulrike Ottinger

By Michael Sicinski In CS84, Features, From The Magazine

A Pierce of the Action: On Claudine and Uptight

By Andrew Tracy In CS84, Features, From The Magazine

The Home and the World: Three Films by Ruchir Joshi

By Jesse Cumming In CS84, Features, From The Magazine

Chums at Midnight: On Hopper/Welles

By Alex Ross Perry In CS84, Features, From The Magazine

Issue 84 Editor’s Note

By Mark Peranson In Columns, CS84, From The Magazine

Books | Molto Bene: The Life and Deeds of a Selfless Egomaniac

By Celluloid Liberation Front In Books, Columns, CS84, From The Magazine

Global Discoveries on DVD | Presumptions & Biases

By Jonathan Rosenbaum In Columns, CS84, DVD Reviews, From The Magazine

Exploded View | Artificial Paradise

By Chuck Stephens In Columns, CS84, Exploded View, From The Magazine

The Inheritance (Ephraim Asili, US)

By James Lattimer In CS84, Currency, From The Magazine

Possessor (Brandon Cronenberg, UK/Canada)

By Mallory Andrews In Canadiana, CS84, Currency, From The Magazine

Cinema Scope 83 Table of Contents

By Cinema Scope In CS83, From The Magazine, Table of Contents

The Land Demands Your Effort: C.W Winter (and Anders Edström) on The Works and Days (of Tayoko Shiojiri in the Shiotani Basin)

By Mark Peranson In CS83, From The Magazine, Interviews

DAU. Diary & Dialogue. Part One: A Living World

By Jordan Cronk In CS83, From The Magazine, Interviews

The Math of Love Triangles: Athina Rachel Tsangari’s Trigonometry

By Adam Nayman In CS83, From The Magazine, Interviews

In Search of the Female Gaze

By Erika Balsom In CS83, Features, From The Magazine

Live(stream) and In Person: Watching Zia Anger’s My First Film in the Age of Quarantine

By Jessica McGoff In CS83, Features, From The Magazine

Cinema Scope 83: Editors Note

By Mark Peranson In Columns, CS83, From The Magazine

Film/Art | The People United Will Never Be Defeated: Igor Levit’s Hauskonzerts

By Shelly Kraicer In Columns, CS83, Film - Art, From The Magazine

TV or Not TV | Ozark’s America and the Rise of the Longform

By Robert Koehler In Columns, CS83, From The Magazine

Global Discoveries on DVD | Diverse Kinds of Do-it-Yourself Subterfuge, Mainly American

By Jonathan Rosenbaum In CS83, DVD Reviews, From The Magazine

Well before the coronavirus pandemic kicked in, I’d already started nurturing a hobby of creating my own viewing packages on my laptop. This mainly consists of finding unsubtitled movies I want to see, on YouTube or elsewhere, downloading them, tracking down English subtitles however and whenever I can find them, placing the films and subtitles into new folders, and then watching the results on my VLC player. The advantages of this process are obvious: not only free viewing, but another way of escaping the limitations of our cultural gatekeepers and commissars—e.g., critics and institutions associated with the New York Film Festival, the New York Times, and diverse film magazines (including this one), not to mention the distributors and programmers who pretend to know exactly what we want to see by dictating all our choices in advance.

Exploded View | No President (Jack Smith, 1967-1970)

By Chuck Stephens In Columns, CS83, Exploded View, From The Magazine

Never Rarely Sometimes Always (Eliza Hittman, US)

By Courtney Duckworth In CS83, Currency, From The Magazine

Blood Quantum (Jeff Barnaby, Canada)

By Mallory Andrews In CS83, Currency, From The Magazine

There Can Be a Better World: The 2020 Images Festival

By Cayley James In CS83, Festivals, From The Magazine, Web Only

Cinema Scope 82: Table of Contents

By Cinema Scope In CS82, From The Magazine, Table of Contents

A State of Uncertainty: Tsai Ming-liang on Days

By Darren Hughes In CS82, From The Magazine, Interviews

New Possible Realities: Heinz Emigholz on The Last City

By Jordan Cronk In CS82, From The Magazine, Interviews

This Dream Will Be Dreamed Again: Luis López Carrasco’s El año del descubrimiento

By James Lattimer In CS82, From The Magazine, Interviews

Long Live the New Flesh: The Decade in Canadian Cinema

By Adam Nayman In Canadiana, CS82, From The Magazine

Best of the Decade: Jodie Mack

By Sofia Bohdanowicz In Canadiana, CS82, From The Magazine, Spotlight

The rigorous and vibrant visual rhythms of Jodie Mack’s cinema were first impressed upon me in 2009, when I premiered a short film at the Ann Arbor Film Festival in a section titled “Feminist Travelogues.” I was fortunate to have been programmed alongside Jodie, who was screening a 28-minute stop-motion animation musical epic titled Yard Work Is Hard Work (2008). During the screening I sat completely dazzled as I watched an intimidating wall of meticulously cut images pulled from catalogues perform intricate designs, which, in combination with acrobatic camera movements and an original soundtrack, told an allegorical story of the disillusionment of married life. I was overcome by the film: I found that it was suffused with an aura of isolation and defeat; it was impressively impenetrable.

Against Oblivion: Richard Billingham’s RAY & LIZ and Yervant Gianikian & Angela Ricci Lucchi’s I diari di Angela—Noi due cineasti

By Andrea Picard In Columns, CS77, From The Magazine

Exploded View: Ken Jacobs’ Nervous Magic Lantern

By Chuck Stephens In Columns, CS77, Exploded View, From The Magazine

Festivals | RIDM 2019: Adapt or Die

By Justine Smith In CS77, Festivals, Web Only

Green Book (Peter Farrelly, US)

By Angelo Muredda In CS77, Currency, From The Magazine

The Favourite (Yorgos Lanthimos, Ireland/US/UK)

By Courtney Duckworth In CS77, Currency, From The Magazine

Cinema Scope 76 Table of Contents

By Cinema Scope In CS76, From The Magazine, Table of Contents

Global Discoveries on DVD: Auteurist Updates

By Jonathan Rosenbaum In Columns, CS76, DVD Reviews, From The Magazine

Issue 76 Editor’s Note

By Mark Peranson In Columns, CS76, From The Magazine

Teller of Tales: Mariano Llinás on La Flor

By Jordan Cronk In CS76, From The Magazine, Interviews

Mass Ornaments: Jodie Mack on The Grand Bizarre

By Blake Williams In CS76, From The Magazine, Interviews

Tous les garçons et les filles: Philippe Lesage’s Genèse and Les démons

By Adam Nayman In CS76, Features, From The Magazine

Touch Me I’m Sick: Alex Ross Perry’s Her Smell

By Jason Anderson In CS76, Features, From The Magazine

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

By Phil Coldiron In CS76, Features, From The Magazine

Deaths of Cinema | The Cracks of the World: Hu Bo (1988-2017)

By Celluloid Liberation Front In Columns, CS76, Deaths of Cinema, From The Magazine

Transit (Christian Petzold, Germany/France)

By James Lattimer In CS76, Currency, From The Magazine

Exploded View | Robert Smithson’s Spiral Jetty

By Chuck Stephens In Columns, CS76, Exploded View, From The Magazine

The Load (Ognjen Glavonic, Serbia/France/Croatia/Iran/Qatar)

By Azadeh Jafari In CS76, Currency, From The Magazine

Everything Transitory Is But an Image: Andrea Bussmann on Fausto

By Adam Cook In CS76, From The Magazine, Interviews

Cinema Scope 75 Contents

By Cinema Scope In CS75, From The Magazine, Table of Contents

Shoplifters (Kore-eda Hirokazu, Japan)

By Mallory Andrews In CS75, Festivals, From The Magazine, Spotlight

Cannes 2018: The Debussy Cramp

By Mark Peranson In CS75, Festivals, From The Magazine, Spotlight

Exchange Rate: The Silent Partner at 40

By Adam Nayman In CS75, Features, From The Magazine

I Like America and America Likes Me: An Interview with Lars von Trier

By Mark Peranson In CS75, From The Magazine, Interviews

Deaths of Cinema | Merci pour tout: Pierre Rissient (1936-2018)

By Scott Foundas In Columns, CS75, From The Magazine

Issue 75 Editor’s Note

By Mark Peranson In Columns, CS75, From The Magazine

Ash Is Purest White (Jia Zhangke, China/France/Japan)

By James Lattimer In CS75, Festivals, From The Magazine, Spotlight

Happy as Lazzaro (Alice Rohrwacher, Italy/Switzerland/France/Germany)

By Celluloid Liberation Front In CS75, Festivals, From The Magazine, Spotlight

The Rider (Chloé Zhao, US)

By Chelsea Phillips-Carr In CS75, Currency

Exploded View: Harry Dodge and Stanya Kahn’s Whacker

By Chuck Stephens In Columns, CS75, Exploded View, From The Magazine

Global Discoveries on DVD: First Looks, Second Thoughts

By Jonathan Rosenbaum In Columns, CS75, DVD Reviews, From The Magazine

Apt Pupil: Bi Gan on Long Day’s Journey Into Night

By Blake Williams In CS75, From The Magazine, Interviews

Transgressions in the Dark Age: The Films of Kim Ki-young and Lee Hwa-si

By Kelley Dong In CS75, Features, From The Magazine

Cinema Scope 74 Contents

By Cinema Scope In CS74, From The Magazine, Table of Contents

The Work (Jairus McLeary & Gethin Aldous, US)

By Manuela Lazic In CS74, Currency, From The Magazine

Visages villages (Agnès Varda & JR, France)

By Erika Balsom In CS74, Currency, From The Magazine

Exploded View: Bruce Conner’s Crossroads

By Chuck Stephens In Columns, CS74, Exploded View, From The Magazine

Canadiana | Hometown Horror: Robin Aubert’s Les affamés

By Lydia Ogwang In Canadiana, Columns, CS74, From The Magazine

Global Discoveries on DVD: A Few Peripheral Matters

By Jonathan Rosenbaum In Columns, CS74, DVD Reviews, From The Magazine

TV or Not TV | Chronicles of Deaths Forestalled: The Leftovers

By Kate Rennebohm In Columns, CS74, From The Magazine, TV

Sundance 2018: What’s the Story?

By Robert Koehler In CS74, Festivals, From The Magazine

Issue 74 Editors Note: The Cinema Scope Top Ten of 2017

By Mark Peranson In Columns, CS74, From The Magazine, Top Ten

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

By Phil Coldiron In CS74, Features, From The Magazine

The Changing View of Man in the Portrait: Errol Morris’ Wormwood

By Lawrence Garcia In CS74, Features, From The Magazine

“You Never Heard of Code-Switching, Motherfucker?”: Joseph Kahn’s Bodied

By Steven Shaviro In CS74, Features, From The Magazine

Whatever Happened to Lizzie Borden?

By Christoph Huber In CS74, From The Magazine, Interviews

Paul Schrader: Deliberate Boredom in the Church of Cinema

By Alex Ross Perry In CS74, From The Magazine, Interviews

Issue 73 Table of Contents

By Cinema Scope In CS73, From The Magazine, Table of Contents

CS73 Editor’s Note

By Mark Peranson In Columns, CS73, From The Magazine

Sightsurf and Brainwave: Blake Williams’ PROTOTYPE

By Michael Sicinski In CS73, From The Magazine, Interviews

Giving Credibility to the Universe: Hélène Cattet & Bruno Forzani on Laissez bronzer les cadavres

By Christoph Huber In CS73, From The Magazine, Interviews

The Uses of Disenchantment: Guillermo del Toro’s The Shape of Water

By Adam Nayman In CS73, Features, From The Magazine

The Limits of Control: Lucien Castaing-Taylor & Véréna Paravel’s Caniba

By Samuel La France In CS73, Features, From The Magazine

3/4 (Ilian Metev, Bulgaria/Germany)

By Jordan Cronk In CS73, Festivals, From The Magazine, Spotlight

Cocote (Nelson Carlo de Los Santos Arias, Dominican Republic/Argentina/Germany)

By Jay Kuehner In CS73, Fall Festival Spotlight, Features, From The Magazine, Spotlight

The Green Fog (Guy Maddin, Evan Johnson, Galen Johnson, US/Canada)

By Lawrence Garcia In CS73, Fall Festival Spotlight, Festivals, From The Magazine, Spotlight

Madame Hyde (Serge Bozon, France/Belgium)

By Blake Williams In CS73, Fall Festival Spotlight, Features, From The Magazine, Spotlight

Hollywood, Read: Slow Writing: Thom Andersen on Cinema

By Sean Rogers In Books, Columns, CS73, From The Magazine

Global Discoveries on DVD: Fantasies and Favourites

By Jonathan Rosenbaum In Columns, CS73, DVD Reviews, From The Magazine

Phantom Thread (Paul Thomas Anderson, US)

By Robert Koehler In CS73, Currency, From The Magazine

Three Billboards Outside Ebbing, Missouri (Martin McDonagh, UK/US)

By Angelo Muredda In CS73, Currency, From The Magazine

Exploded View | Stan Brakhage’s Metaphors on Vision

By Chuck Stephens In Columns, CS73, Exploded View, From The Magazine

Ex Libris – The New York Public Library (Frederick Wiseman, US)

By Tom Charity In CS72, Currency, From The Magazine

Did You Wonder Who Fired the Gun? (Travis Wilkerson, US)

By Celluloid Liberation Front In CS72, Currency, From The Magazine

Exploded View: Bill Viola’s I Do Not Know What It Is I Am Like

By Chuck Stephens In CS72, Exploded View, From The Magazine

Global Discoveries on DVD: Bologna Awards and Mixed & Unmixed Blessings

By Jonathan Rosenbaum In CS72, DVD Reviews, From The Magazine

Film/Art | Meet the Restacks: Dani Leventhal and Sheilah Wilson on Strangely Ordinary This Devotion

By Michael Sicinski In Columns, CS72, From The Magazine

CS72 Editors Note

By Mark Peranson In Columns, CS72, From The Magazine

Ephraim Asili’s Immeasurable Equations

By Jesse Cumming In CS72, Features, From The Magazine

Those You Call Mutants: The Films of Lucrecia Martel

By Blake Williams In CS72, Features, From The Magazine

Ahead of Its Reflection: Ben Russell’s Good Luck

By Phil Coldiron In CS72, Features, From The Magazine

The Land of Terrible Legends: Narimane Mari on Le fort des fous

By Jordan Cronk In CS72, From The Magazine, Interviews

Inner and Outer Space: Wang Bing Talks About Mrs. Fang

By Daniel Kasman In CS72, From The Magazine, Interviews

The New Workout Plan: Denis Côté’s Ta peau si lisse

By Adam Nayman In CS72, From The Magazine, Interviews

DVD Bonus | Capital, City: Three Films by Lino Brocka

By Lawrence Garcia In CS72, DVD Reviews, From The Magazine

A Little Night Music: Twin Peaks: The Return, Part Eight

By Kate Rennebohm In Columns, CS72, From The Magazine, TV

Issue 72: Table of Contents

By Cinema Scope In CS72, From The Magazine, Table of Contents

Issue 71: Table of Contents

By cscope2 In CS71, From The Magazine, Table of Contents

24 Frames (Abbas Kiarostami, Iran)

By Blake Williams In CS71, Festivals, From The Magazine, Spotlight

Electroshock Therapy: Matthew Rankin on The Tesla World Light

By Jason Anderson In CS71, Features, From The Magazine, Interviews

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

Dusting the Corners: Luke Fowler’s Restorative Histories

By Michael Sicinski In CS71, Features, From The Magazine, Interviews

Rossellini’s War Trilogy: Neorealism or Historical Revisionism?

By Celluloid Liberation Front In CS71, Features, From The Magazine, Interviews

Cannes at 70: Bad Times, Good Time

By Mark Peranson In Columns, CS71, Festivals, From The Magazine, Spotlight

The Square (Ruben Östlund, Denmark/France/Germany/Sweden)

By Josh Cabrita In CS71, Festivals, From The Magazine, Spotlight

Araby (Affonso Uchôa and João Dumans, Brazil)

By Jay Kuehner In CS71, Currency, From The Magazine

Exploded View: Peter Gidal’s Room (Double Take)

By Chuck Stephens In CS71, From The Magazine

Sandy Wexler (Steven Brill, US)

By Adam Nayman In CS71, Web Only

The Day After / Claire’s Camera (Hong Sangsoo, South Korea)

By Andrea Picard In Columns, CS71, Festivals, From The Magazine, Spotlight

At the Frontier: Valeska Grisebach on Western

By James Lattimer In Columns, CS71, Festivals, From The Magazine, Spotlight

Jeannette, l’enfance de Jeanne d’Arc (Bruno Dumont, France)

By Jordan Cronk In Columns, CS71, Festivals, From The Magazine, Spotlight

CS71 Editors Note

By Mark Peranson In Columns, CS71, From The Magazine

Global Discoveries on DVD: A (Mainly) Alphabetical Listing of 24 Items

By Jonathan Rosenbaum In Columns, CS71, DVD Reviews, From The Magazine

Silence (Martin Scorsese, US/Taiwan/Mexico)

By Andrew Tracy In CS70, Currency, From The Magazine

Exploded View: Will Hindle’s Billabong

By Chuck Stephens In Columns, CS70, Exploded View, From The Magazine

Global Discoveries on DVD: Clarifications and Spring Cleaning

By Jonathan Rosenbaum In Columns, CS70, DVD Reviews, From The Magazine

Deaths of Cinema | Nothing Will Die: John Hurt, 1940–2017

By Adam Nayman In Columns, CS70, From The Magazine

Berlin: Bright Nights and Non-Events

By Jordan Cronk In Columns, CS70, Festivals, From The Magazine

Sundance (II): A Few Useful Details

By Jay Kuehner In Columns, CS70, Festivals, From The Magazine

Film/Art | Indeed, We Know: On the Video Art of Elizabeth Price

By Blake Williams In Columns, CS70, From The Magazine

Common Boston: Dennis Lehane on Screen

By Sean Rogers In CS70, Features, From The Magazine

Small Things and Big Things: Feng Xiaogang’s I Am Not Madame Bovary

By Shelly Kraicer In CS70, Features, From The Magazine

Cinema Scope 70 Editor’s Note: Top Ten of 2016

By Mark Peranson In Columns, CS70, From The Magazine, Top Ten

First Do No Harm: Hugh Gibson on The Stairs

By Angelo Muredda In CS70, From The Magazine, Interviews

Cinema Concrete: Dane Komljen’s All the Cities of the North

By Robert Koehler In CS70, From The Magazine, Interviews

Orchestrating the Apocalypse: The Survival Horror of Paul W.S. Anderson’s Resident Evils

By Christoph Huber In CS70, Features, From The Magazine

Unseen Forces: Joshua Bonnetta in Sound and Image

By Michael Sicinski In CS70, Features, From The Magazine

Northern Exposure: Future//Present at VIFF

By Jordan Cronk In CS69, From The Magazine, Web Only

Moonlight (Barry Jenkins, US)

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

Cinema Scope 69 Editor’s Note

By Mark Peranson In Columns, CS69, From The Magazine

Rat Film (Theo Anthony, US)

By Jordan Cronk In CS69, Fall Festival Spotlight, From The Magazine, Spotlight

Kékszakállú (Gastón Solnicki, Argentina)

By Jose Teodoro In CS69, Fall Festival Spotlight, From The Magazine, Spotlight

Ceux qui font les révolutions à moitié n’ont fait que se creuser un tombeau (Mathieu Denis and Simon Lavoie, Canada)

By Adam Nayman In CS69, Fall Festival Spotlight, Festivals, From The Magazine, Spotlight

Austerlitz (Sergei Loznitsa, Germany)

By Jay Kuehner In CS69, Fall Festival Spotlight, Festivals, From The Magazine, Spotlight

Something, Everything: Manuela De Laborde on AS WITHOUT SO WITHIN

By Blake Williams In CS69, Features, From The Magazine, Interviews

The Working Hour: Salomé Lamas’ Eldorado XXI

By Michael Sicinski In CS69, Features, From The Magazine, Interviews

Super-Ornithologist: João Pedro Rodrigues’ Birdman

By Robert Koehler In CS69, Features, From The Magazine, Interviews

Artifact Bonfire: Ken Jacobs and Reichstag 9/11

By Daniel Kasman In CS69, Features, From The Magazine, Interviews

From the Other Side: Exiled in Trumpland

By Roberto Minervini In CS69, Features, From The Magazine, Interviews

Jackie (Pablo Larraín, US/UK/France)

By Adam Nayman In CS69, Currency

Exploded View: Gary Beydler’s Mirror

By Chuck Stephens In CS69, Exploded View, From The Magazine

Global Discoveries on DVD: Mostly Items from Overseas

By Jonathan Rosenbaum In Columns, CS69, DVD Reviews, From The Magazine

Film/Art | News from Anywhere, Nowhere, Home: Notes on the BNLMTL

By Andrea Picard In Columns, CS69, From The Magazine

Cinema Scope 68 Editor’s Note

By Mark Peranson In Columns, CS68, From The Magazine

Weapon of Flesh: Shiota Akihiko’s Wet Woman in the Wind and the Return of Roman Porno

By Christoph Huber In CS68, Features, From The Magazine, Interviews

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

By Phil Coldiron In Columns, CS68, From The Magazine

Deaths of Cinema | What the Water Said: Peter Hutton (1944-2016)

By Michael Sicinski In Columns, CS68, From The Magazine

Issue 68: Table of Contents

By Cinema Scope In CS68, From The Magazine, Table of Contents

Locarno (I): Challenges

By Jay Kuehner In Columns, CS68, Festivals, From The Magazine

Global Discoveries on DVD: Awards and Extras

By Jonathan Rosenbaum In Columns, CS68, DVD Reviews

Exploded View: Malcolm Le Grice’s Berlin Horse

By Chuck Stephens In CS68, Exploded View, From The Magazine

The Rules of the Game: Paul Verhoeven’s Elle

By Adam Nayman In Cinema Scope Online, CS68, Features, From The Magazine, Interviews, TIFF 2016

Nocturama (Bertrand Bonello, France/Germany/Belgium)

By Blake Williams In Cinema Scope Online, CS68, Currency, From The Magazine, TIFF 2016

Daughters of the Dust (Julie Dash, US)

By Steve Macfarlane In Cinema Scope Online, CS68, Currency, From The Magazine, TIFF 2016

Sehnsucht: Ruth Beckermann on The Dreamed Ones

By Andrea Picard In Cinema Scope Online, CS68, Features, From The Magazine, Interviews, TIFF 2016

Saying Something: The Films of Angela Schanelec

By Blake Williams In Cinema Scope Online, CS68, Features, From The Magazine, Interviews, TIFF 2016

The Wanderer: Eduardo Williams’ The Human Surge

By Leo Goldsmith In Cinema Scope Online, CS68, Features, From The Magazine, Interviews, TIFF 2016

Snowden (Oliver Stone, Germany/US)

By Robert Koehler In Cinema Scope Online, CS68, Currency, From The Magazine, TIFF 2016

L’Avenir (Mia Hansen-Løve, France)

By Adam Nayman In Cinema Scope Online, CS68, Currency, From The Magazine, TIFF 2016

Issue 70: Table of Contents

By Cinema Scope In Columns, CS70, From The Magazine, Table of Contents

Issue 69: Table of Contents

By Cinema Scope In Columns, CS69, From The Magazine, Table of Contents

Issue 67: Table of Contents

By Cinema Scope In CS67, From The Magazine, Table of Contents

The Man Who Would Be Cinema: Muhammad Ali, 1942-2016

By Celluloid Liberation Front In CS67, Web Only

Global Discoveries on DVD: Ways of Seeing

By Jonathan Rosenbaum In Columns, CS67, DVD Reviews, From The Magazine

La mort de Louis XIV (Albert Serra, France/Spain/Portugal)

By Blake Williams In CS67, Festivals, From The Magazine, Spotlight

Termite Art: Kleber Mendonça Filho on Aquarius

By Robert Koehler In CS67, Festivals, From The Magazine, Spotlight

Sieranevada (Cristi Puiu, Romania/France/Bosnia and Herzegovnia/Croatia/Republic of Macedonia)

By Jordan Cronk In CS67, Festivals, From The Magazine, Spotlight

A Battle of Humour: Maren Ade on Toni Erdmann

By Mark Peranson In CS67, Festivals, From The Magazine, Spotlight

Cannes 2016: Gentlemen, We’ll Do Better Next Time

By Mark Peranson In CS67, Festivals, From The Magazine, Spotlight

The Gag of Realism: Nathan for You

By Benny Safdie In CS67, Features, From The Magazine

Power of Attorney: Better Call Saul

By Adam Nayman In CS67, Features, From The Magazine

El Filibustero: Lav Diaz’s A Lullaby to the Sorrowful Mystery

By Michael Sicinski In CS67, Features, From The Magazine

Exploded View: Robert Nelson’s Bleu Shut

By Chuck Stephens In Cinema Scope Online, Columns, CS67, Exploded View, From The Magazine

Before the Swarm: David Bordwell’s The Rhapsodes: How 1940s Critics Changed American Film Culture

By Andrew Tracy In Books, Columns, CS67, From The Magazine

Film/Art – Un-Canny: Bruno Dumont’s Ma Loute and the Creatures of Cannes

By Andrea Picard In Columns, CS67, From The Magazine

Mimosas (Oliver Laxe, Spain/Morocco/Qatar/France)

By Jay Kuehner In CS67, Festivals, From The Magazine, Spotlight

Issue 67 Editor’s Note

By Mark Peranson In Columns, CS67, From The Magazine

Love & Friendship (Whit Stillman, Ireland/Netherlands/France/US)

By Alicia Fletcher Alicia Fletcher In CS67, Currency, From The Magazine

Archive Fever: The Films of Pietro Marcello

By Blake Williams In CS64, Features, From The Magazine

High-Rise (Ben Wheatley, UK)

By Tom Charity In CS64, Currency, From The Magazine

Infinite Worlds Possible: Hong Sangsoo’s Right Now, Wrong Then

By Roger Koza In CS64, From The Magazine, Interviews

Issue 66 Table of Contents

By Cinema Scope In CS66, From The Magazine, Table of Contents

Necessary Means: Isiah Medina on 88:88

By Phil Coldiron In CS64, From The Magazine, Interviews

Era Extraña: Lewis Klahr on Sixty Six

By Jordan Cronk In CS66, From The Magazine, Interviews

Notes on Camp: An Interview with David Wain

By Adam Nayman In CS64, From The Magazine, Interviews

The Only Luxury: An Interview with Ted Fendt

By Dan Sullivan In CS66, From The Magazine, Interviews

Eternal Damnation: Arturo Ripstein’s Bleak Street

By Jose Teodoro In CS64, Features, From The Magazine

Field Studies: Mark Lewis’ Invention

By Michael Sicinski In CS66, Features, From The Magazine

Issue 64 Editor’s Note

By Mark Peranson In Columns, CS64, From The Magazine

Star Wars: Laura Poitras’ Astro Noise

By Jerry White In CS66, Features, From The Magazine

Film/Art | We Can’t Go Home Again: Chantal Akerman’s No Home Movie

By Andrea Picard In Columns, CS64, From The Magazine

True Colours: On Margaret Honda’s Style

By Phil Coldiron In CS66, Features, From The Magazine

The Club (Pablo Larraín, Chile)

By Quintin In CS64, Currency, From The Magazine

Uniquely American Symptoms: The Manchurian Candidate

By Adam Nayman In CS66, Features, From The Magazine

Last Action Hero: Jason Statham Plays It Straight

By Christoph Huber In CS66, Features, From The Magazine

Wang Bing Films Souls: On Ta’ang and Other Recent Work

By Shelly Kraicer In CS66, Features, From The Magazine

Sundance 2016: Good Grief!

By Blake Williams In CS66, Features, From The Magazine, Spotlight

A Cinema of the Margins: The Curious Case of Claudio Caligari

By Ruben Demasure In CS66, Festivals, From The Magazine, Spotlight

Editor’s Note: The Cinema Scope Top Ten of 2015

By Mark Peranson In Columns, CS66, From The Magazine, Top Ten

Deaths of Cinema | Metteur en scène: Jacques Rivette, 1928–2016

By Matías Piñeiro In Columns, CS66, From The Magazine

A Film/Art Hypothesis: Philippe Parreno at HangarBicocca

By Andrea Picard In Columns, CS66, From The Magazine

Global Discoveries on DVD: Niche Market Refugees

By Jonathan Rosenbaum In Columns, CS66, From The Magazine

Exploded View: Tom Palazzolo’s Love It / Leave It

By Chuck Stephens In Columns, CS66, Exploded View, From The Magazine

Il Solengo (Alessio Rigo de Righi and Matteo Zoppis, Italy)

By Jay Kuehner In CS66, Currency, From The Magazine

Issue 65 Table of Contents

By Cinema Scope In CS65, From The Magazine, Table of Contents

Room (Lenny Abrahamson, Ireland/Canada)

By Angelo Muredda In CS65, Currency, From The Magazine

Carol (Todd Haynes, US)

By Phil Coldiron In CS65, Currency, From The Magazine

Exploded View | Death of the Gorilla

By Chuck Stephens In CS65, Exploded View, From The Magazine

Global Discoveries on DVD | Hosannas and Quibbles

By Jonathan Rosenbaum In Columns, CS65, DVD Reviews, From The Magazine

Issue 65 Editor’s Note

By Mark Peranson In Columns, CS65, From The Magazine

This is the archive of articles selected from the print version of Cinema Scope magazine. You can help us to continue to provide this valuable resource and read many more articles by subscribing.