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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THE DECADE'S TOP TEN
- Cinema Scope 82: Editor’s Note — Best of the Decade
From the Magazine
- Cinema Scope 82: Table of Contents
  
  Interviews A State of Uncertainty: Tsai Ming-liang on Days by Darren Hughes New Possible Realities: Heinz Emigholz on The Last
- A State of Uncertainty: Tsai Ming-liang on Days
  
  There’s no exact precedent for the long creative collaboration between Tsai Ming-liang and Lee Kang-sheng. In 1991, as the story goes, Tsai stepped out of a screening of a David Lynch movie and spotted Lee sitting on a motorbike outside of an arcade.
- New Possible Realities: Heinz Emigholz on The Last City
  
  The Last City, the new film by Heinz Emigholz, begins with a confession. “And it was a straight lie when I told you that I had an image that could describe the state of my depression,” admits a middle-aged archaeologist to a weapons designer (played, respectively, by John Erdman and Jonathan Perel, who were previously seen in Emigholz's 2017 film Streetscapes [Dialogue] as a filmmaker and his analyst). “I made that up.” Part reintroduction, part recapitulation, this abrupt admission sets the conceptual coordinates for a film that, despite its presentation and the familiarity of its players, is less a continuation of that earlier work’s confessional mode of address than a creative reimagining of its talking points.
- This Dream Will Be Dreamed Again: Luis López Carrasco’s El año del descubrimiento
  
  Luis López Carrasco’s dense, devious El año del descubrimiento confirms his reputation as Spain’s foremost audiovisual chronicler of the country’s recent past, albeit one for whom marginal positions, materiality, everyday chitchat, and the liberating effects of fiction are as, if not more, important than grand historical events.
- Long Live the New Flesh: The Decade in Canadian Cinema
  
  Let’s get it right out of the way: by any non-subjective metric—which is to say in spite of my own personal opinion—the Canadian filmmaker of the decade is Xavier Dolan, who placed six features (including two major Competition prizewinners) at Cannes between 2009 (let’s give him a one-year head start) and 2019, all before turning 30. Prodigies are as prodigies do, and debating Dolan’s gifts as a transnational melodramatist and zeitgeist-tapperis a mug’s game, one that I’ve already played in these pages.