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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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.