Cinema Scope

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Issue 51 Table of Contents

By Cinema Scope In CS51, From The Magazine, Table of Contents

Global Discoveries on DVD: Sometimes (Matters Arising)

By Jonathan Rosenbaum In Columns, CS51, From The Magazine

Compliance (Craig Zobel, US)

By Adam Nayman In CS51, Currency, From The Magazine

Moonrise Kingdom (Wes Anderson, US)

By John Semley In CS51, Currency, From The Magazine

Film/Art | Beware of the Jollibee: A Correspondence with Lav Diaz

By Andrea Picard In Columns, CS51, From The Magazine

CS51 Editor’s Note

By Mark Peranson In Columns, CS51, From The Magazine

The Cheshire Cat Quinzaine

By Robert Koehler In CS51, Festivals, From The Magazine, Spotlight

Post Tenebras Lux (Carlos Reygadas, Mexico)

By Tom Charity In CS51, Festivals, From The Magazine, Spotlight

Holy Motors (Leos Carax, France)

By Dennis Lim In CS51, Festivals, From The Magazine, Spotlight

Cannes 2012: The Forecast Calls for Pain

By Mark Peranson In CS51, Festivals, From The Magazine, Spotlight

Terror Incognita: Julia Loktev on The Loneliest Planet

By Jay Kuehner In CS51, From The Magazine, Interviews

This Is Not an Omnibus: The Jeonju Digital Project 2012

By Michael Sicinski In CS51, 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

Get Out of the Car: David Cronenberg’s Cosmopolis

By Adam Nayman In CS51, Features, From The Magazine

Exploded View | Serene Velocity / World on a Wire

By Chuck Stephens In Columns, CS51, From The Magazine

Amour (Michael Haneke, France/Austria)

By Christoph Huber In CS51, Festivals, From The Magazine, Spotlight

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From the Magazine
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  Les misérables By Erika Balsom for RMC 1. It was a total coincidence and yet it felt freighted with meaning:
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  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