Cinema Scope

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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

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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.