Interviews No God But the Unknown Pietro Marcello and Maurizio Braucci on Martin Eden by Jordan Cronk I See a
Cinema Scope Online
- Three Summers (Sandra Kogut, Brazil/France) — Contemporary World Cinema
- Knives Out (Rian Johnson, US) — Special Presentations
- Jojo Rabbit (Taika Waititi, US) — Special Presentations
- Hope (Maria Sødahl, Norway/Sweden) — Discovery
- The Laundromat (Steven Soderbergh, US) — Special Presentations
- Wasp Network (Olivier Assayas, France/Brazil/Spain/Belgium) — Special Presentations
- Uncut Gems (Josh Safdie & Benny Safdie, US) — Special Presentations
- The Body Remembers When the World Broke Open (Elle-Máijá Tailfeathers & Kathleen Hepburn, Canada/Norway) — Contemporary World Cinema
From the Magazine
- Cinema Scope 80 Table of Contents
- No God But the Unknown: Pietro Marcello and Maurizio Braucci on Martin Eden
I See a Darkness: Pedro Costa on Vitalina Varela
A moving study of mourning and memory, Pedro Costa’s revelatory new film offers an indelible portrait of Vitalina Taveres Varela, a fragile yet indomitable woman who makes the long voyage from Cape Verde to Lisbon to attend her estranged husband’s funeral, but misses the event itself because of cruel bureaucratic delays.
Woman on the Verge of a Nervous Breakdown: Kazik Radwanski’s Anne at 13,000 ft
The prospect of spending an hour and a half with people lacking in notable virtue, alluring vice, or any apparent interest, may seem like an unproductive exercise in forced empathy—but consider this skepticism a function, as opposed to a fault, of these tightly orchestrated, seemingly soporific character studies.
For a Cinema of Bombardment
Although there have always been intrepid critics and cinephiles who have engaged with films belonging to the non-narrative avant-garde, there has existed a perception that such films, operating as they do on somewhat different aesthetic precepts, could be considered a separate cinematic realm, one that even the most dutiful critic could engage with or not, as he or she saw fit.