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Impresión de un cineasta: On the Films of Camilo Restrepo

By Jay Kuehner In CS82, Features, From The Magazine

They Are All Equal Now: The Irishman’s Epic of Sadness

By Robert Koehler In CS81, Features, From The Magazine

Far from Paradise: Nina Menkes’ Queen of Diamonds

By Erika Balsom In CS81, Features, From The Magazine

Garden Against the Machine: Ja’Tovia Gary’s The Giverny Document

By Michael Sicinski In CS81, Features, From The Magazine

Woman on the Verge of a Nervous Breakdown: Kazik Radwanski’s Anne at 13,000 ft

By Josh Cabrita In CS80, Features, From The Magazine

For a Cinema of Bombardment

By Michael Sicinski In CS80, Features, From The Magazine

Together We’re Willing to Take Any Risk: The Films of Han Ok-hee and Kaidu Club

By Jesse Cumming In CS80, Features, From The Magazine

The Good Fight: The Films of Julia Reichert

By Bob Kotyk In CS79, Features, From The Magazine

Truth and Method: The Films of Thomas Heise

By Michael Sicinski In CS79, Features, From The Magazine

Thinking in Images: Scott Walker and Cinema

By Christoph Huber In CS79, Features, From The Magazine

The Exorcist: Barbara Loden and Wanda

By Courtney Duckworth In CS78, Features, From The Magazine

Audrey II: Sofia Bohdanowicz and Deragh Campbell’s MS Slavic 7

By Adam Nayman In CS78, Features, From The Magazine, Interviews

Screenlife’s What You Make It: Thoughts on Searching, Profile, Unfriended: Dark Web, and Cam

By Jason Anderson In CS78, Features, From The Magazine

You Can’t Own an Idea: The Films of James N. Kienitz Wilkins

By Dan Sullivan In CS78, Features, From The Magazine

To Thine Own Self Be True: Angela Schanelec on I Was at Home, But…

By Giovanni Marchini Camia In CS78, Features, From The Magazine, Interviews

Ghost Operas: Music from the Films of Bertrand Bonello

By Sean Rogers In CS77, Features, From The Magazine, Interviews

Soft and Hard: Claire Denis on High Life

By Adam Nayman In CS77, Features, From The Magazine, Interviews

Encore: Dora García’s Segunda vez

By Michael Sicinski In CS77, Features, From The Magazine, Interviews

The Land of the Unknown: Roberto Minervini on What You Gonna Do When the World’s on Fire?

By Jordan Cronk In CS77, Features, From The Magazine, Interviews

Tous les garçons et les filles: Philippe Lesage’s Genèse and Les démons

By Adam Nayman In CS76, Features, From The Magazine

Touch Me I’m Sick: Alex Ross Perry’s Her Smell

By Jason Anderson In CS76, Features, From The Magazine

First Person Plural: On Orson Welles’ The Other Side of the Wind

By Phil Coldiron In CS76, Features, From The Magazine

Exchange Rate: The Silent Partner at 40

By Adam Nayman In CS75, Features, From The Magazine

Transgressions in the Dark Age: The Films of Kim Ki-young and Lee Hwa-si

By Kelley Dong In CS75, Features, From The Magazine

Do It Again: On Ricky D’Ambrose’s Words and Images

By Phil Coldiron In CS74, Features, From The Magazine

The Changing View of Man in the Portrait: Errol Morris’ Wormwood

By Lawrence Garcia In CS74, Features, From The Magazine

“You Never Heard of Code-Switching, Motherfucker?”: Joseph Kahn’s Bodied

By Steven Shaviro In CS74, Features, From The Magazine

The Uses of Disenchantment: Guillermo del Toro’s The Shape of Water

By Adam Nayman In CS73, Features, From The Magazine

The Limits of Control: Lucien Castaing-Taylor & Véréna Paravel’s Caniba

By Samuel La France In CS73, Features, From The Magazine

Cocote (Nelson Carlo de Los Santos Arias, Dominican Republic/Argentina/Germany)

By Jay Kuehner In CS73, Fall Festival Highlights, Features, From The Magazine, Spotlight

Madame Hyde (Serge Bozon, France/Belgium)

By Blake Williams In CS73, Fall Festival Highlights, Features, From The Magazine, Spotlight

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

Electroshock Therapy: Matthew Rankin on The Tesla World Light

By Jason Anderson In CS71, Features, From The Magazine, Interviews

Would You Like to See a Magic Trick?: Basma Alsharif’s Ouroboros and its Contexts

By Phil Coldiron In CS71, Features, From The Magazine, Interviews

Dusting the Corners: Luke Fowler’s Restorative Histories

By Michael Sicinski In CS71, Features, From The Magazine, Interviews

Rossellini’s War Trilogy: Neorealism or Historical Revisionism?

By Celluloid Liberation Front In CS71, Features, From The Magazine, Interviews

Common Boston: Dennis Lehane on Screen

By Sean Rogers In CS70, Features, From The Magazine

Small Things and Big Things: Feng Xiaogang’s I Am Not Madame Bovary

By Shelly Kraicer In CS70, Features, From The Magazine

Orchestrating the Apocalypse: The Survival Horror of Paul W.S. Anderson’s Resident Evils

By Christoph Huber In CS70, Features, From The Magazine

Unseen Forces: Joshua Bonnetta in Sound and Image

By Michael Sicinski In CS70, Features, From The Magazine

Something, Everything: Manuela De Laborde on AS WITHOUT SO WITHIN

By Blake Williams In CS69, Features, From The Magazine, Interviews

The Working Hour: Salomé Lamas’ Eldorado XXI

By Michael Sicinski In CS69, Features, From The Magazine, Interviews

Super-Ornithologist: João Pedro Rodrigues’ Birdman

By Robert Koehler In CS69, Features, From The Magazine, Interviews

Artifact Bonfire: Ken Jacobs and Reichstag 9/11

By Daniel Kasman In CS69, Features, From The Magazine, Interviews

From the Other Side: Exiled in Trumpland

By Roberto Minervini In CS69, Features, From The Magazine, Interviews

Weapon of Flesh: Shiota Akihiko’s Wet Woman in the Wind and the Return of Roman Porno

By Christoph Huber In CS68, Features, From The Magazine, Interviews

The Rules of the Game: Paul Verhoeven’s Elle

By Adam Nayman In Cinema Scope Online, CS68, Features, From The Magazine, Interviews, TIFF 2016

Sehnsucht: Ruth Beckermann on The Dreamed Ones

By Andrea Picard In Cinema Scope Online, CS68, Features, From The Magazine, Interviews, TIFF 2016

Saying Something: The Films of Angela Schanelec

By Blake Williams In Cinema Scope Online, CS68, Features, From The Magazine, Interviews, TIFF 2016

The Wanderer: Eduardo Williams’ The Human Surge

By Leo Goldsmith In Cinema Scope Online, CS68, Features, From The Magazine, Interviews, TIFF 2016

The Gag of Realism: Nathan for You

By Benny Safdie In CS67, Features, From The Magazine

Power of Attorney: Better Call Saul

By Adam Nayman In CS67, Features, From The Magazine

El Filibustero: Lav Diaz’s A Lullaby to the Sorrowful Mystery

By Michael Sicinski In CS67, Features, From The Magazine

Field Studies: Mark Lewis’ Invention

By Michael Sicinski In CS66, Features, From The Magazine

Star Wars: Laura Poitras’ Astro Noise

By Jerry White In CS66, Features, From The Magazine

True Colours: On Margaret Honda’s Style

By Phil Coldiron In CS66, Features, From The Magazine

Uniquely American Symptoms: The Manchurian Candidate

By Adam Nayman In CS66, Features, From The Magazine

Last Action Hero: Jason Statham Plays It Straight

By Christoph Huber In CS66, Features, From The Magazine

Wang Bing Films Souls: On Ta’ang and Other Recent Work

By Shelly Kraicer In CS66, Features, From The Magazine

Sundance 2016: Good Grief!

By Blake Williams In CS66, Features, From The Magazine, Spotlight

Mother of All of Us: Ida Lupino, The Filmaker

By Christoph Huber In CS65, Features, From The Magazine

Landscape Suicide: The Films of Daïchi Saïto

By Jordan Cronk In CS65, Features, From The Magazine

Leeching Upon the Lifeblood of the Real: Ben Rivers’ The Sky Trembles and the Earth Is Afraid and the Two Eyes Are Not Brothers

By Leo Goldsmith In CS64, Features, From The Magazine

Archive Fever: The Films of Pietro Marcello

By Blake Williams In CS64, Features, From The Magazine

Eternal Damnation: Arturo Ripstein’s Bleak Street

By Jose Teodoro In CS64, Features, From The Magazine

In Dreams Begin Responsibilities: The Films of Patricio Guzmán

By Max Nelson In CS63, Features, From The Magazine

Joyce Wieland: Word of Mouth

By Samuel La France In CS63, Features, From The Magazine

Implications of a Totality: Frames for the Films of Joseph Bernard

By Phil Coldiron In CS63, Features, From The Magazine

Blackhat, White Noise: Michael Mann’s System of Objects

By Andrew Tracy In CS62, Features, From The Magazine

A Perfect Game: Kevin Jerome Everson’s Park Lanes

By Michael Sicinski In CS62, Features, From The Magazine

The Funniest Joke in the World: On Rick Alverson’s Entertainment

By Phil Coldiron In CS62, Features, From The Magazine

Dancing on the Edge: Derek Jarman’s Will You Dance With Me?

By Max Nelson In CS62, Features, From The Magazine

Of Time and the River: Mapping the Cinema of Luo Li

By Shelly Kraicer In CS62, Features, From The Magazine

Dead Meat: Bruno Dumont’s P’tit Quinquin

By Michael Sicinski In CS61, Features, From The Magazine, Interviews, Top Ten Films 2014

Of Human Bondage: Peter Strickland on The Duke of Burgundy

By Jose Teodoro In CS61, Features, From The Magazine, Interviews

The Face of Another: Christian Petzold’s Phoenix

By Adam Nayman In CS61, Features, From The Magazine, Interviews, Top Ten Films 2014

Who Can Tell of the Heroic Deeds of Israel?: Nadav Lapid’s The Kindergarten Teacher

By Jay Kuehner In CS61, Features, From The Magazine, Interviews, Top Ten Films 2014

Don’t Look Back: Life and Death and the Films of Mary Helena Clark

By Phil Coldiron In CS61, Features, From The Magazine

A Place Beyond the Pines: Twin Peaks: Fire Walk With Me, the Missing Pieces, and the Legacy of Brutality

By Jordan Cronk In CS60, Features, From The Magazine

Going for Baroque: The Films of Eugène Green

By Blake Williams In CS60, Features, From The Magazine

Imaginary Love: Xavier Dolan’s Mommy

By Adam Nayman In CS60, Features, From The Magazine

The Noise Made By People: The Films of Martín Rejtman

By Max Nelson In CS60, Features, From The Magazine

City to City 2014 and Beyond: TIFF’s Uneven Seoul Patch

By Michael Sicinski In CS60, Features, From The Magazine

Declarations of Independence: A Conversation Between Alex Ross Perry and Joel Potrykus

By Cinema Scope In CS59, Features, From The Magazine, Interviews

Deborah Stratman: Safe and Sound

By Samuel La France In CS59, Features, From The Magazine

Each Memory Creates Its Own Legend: The Films of John Torres

By Max Nelson In CS59, Features, From The Magazine

The Conversation: Stephanie Barber’s DAREDEVILS

By Max Goldberg In CS58, Features, From The Magazine

Dreams of Light: The Cinema of Amit Dutta

By Max Nelson In CS58, Features, From The Magazine

Man from the Southwest: The Brutish Cinema of José Campusano

By Quintin In CS58, Features, From The Magazine

Paolo Sorrentino: A Medium Talent

By Michael Sicinski In CS58, Features, From The Magazine

Game Theories: Corneliu Porumboiu and the New Romanian Wake

By Jordan Cronk In CS58, Features, From The Magazine

Hardbodies and Soul: The Professional Wrestler as Actor

By Adam Nayman In CS58, Features, From The Magazine

What is Boyhood?

By Gabe Klinger In CS58, Features, From The Magazine

The Great Depression: Jerry Lewis’ Last Movies

By Christoph Huber In CS57, Features, From The Magazine

An Internal Memo: Gianfranco Rosi’s Sacro GRA

By Michael Sicinski In CS57, Features, From The Magazine

Flicker Flicker Flicker Blam Pow Pow: Five Films by Jodie Mack

By Phil Coldiron In CS57, Features, From The Magazine

A Truck Full of Turkeys: Thoughts on Joaquim Pinto’s What Now? Remind Me

By Francisco Ferreira In CS56, Features, From The Magazine

Temps mort: Jim Jarmusch’s Only Lovers Left Alive

By Andrew Tracy In CS56, Features, From The Magazine

Master Shots: Tsai Ming-liang’s Late Digital Period

By Blake Williams In CS56, Features, From The Magazine

Pilgrim’s Progress: Manakamana

By Jay Kuehner In CS56, Features, From The Magazine

The End of Cinema: La última película

By Phil Coldiron In CS56, Features, From The Magazine

Women Under the Influence: Hong Sangsoo’s Nobody’s Daughter Haewon & Our Sunhi

By Jordan Cronk In CS56, Features, From The Magazine

A Liar’s Autobiography: The Return of Alejandro Jodorowsky

By Quintin In CS56, Features, From The Magazine

Athens Decathlon: TIFF 2013 City to City

By Adam Nayman In CS56, Features, From The Magazine

Black, White, and Giallo: Forzani & Cattet’s The Strange Colour of Your Body’s Tears

By Jason Anderson In CS56, Features, From The Magazine

Pretending That Life Has No Meaning: Paul Schrader’s The Canyons

By Phil Coldiron In CS55, Features, From The Magazine

Sex, Death, and Geometry: A Conversation Between Alain Guiraudie and João Pedro Rodrigues on L’inconnu du lac

By Cinema Scope In CS55, Features, From The Magazine, Interviews

Danger Zone: FX’s Archer

By Adam Nayman In CS55, Features, From The Magazine

The Poetry of Confined Quarters: Ramon Zürcher’s The Strange Little Cat

By Michael Sicinski In CS55, Features, From The Magazine

One-Man Band: A Conversation with Matt Johnson About The Dirties

By Cinema Scope In CS55, Features, From The Magazine, Interviews

Fire in Every Shot: Wang Bing’s Three Sisters

By Thom Andersen In CS54, Features, From The Magazine

One Horizontal, One Vertical: Some Preliminary Observations on Wong Kar-wai’s The Grandmaster

By Shelly Kraicer In CS54, Features, From The Magazine

An Ursine Halfabet: Denis Côté’s Vic+Flo ont vu un ours

By Michael Sicinski In CS54, Features, From The Magazine

Opening the Gates of Night: Jean-Claude Brisseau’s La fille du nulle part

By Boris Nelepo In CS53, Features, From The Magazine

A Murderer Cannot Avoid Death: Thoughts on Manoel de Oliveira’s Gebo and the Shadow

By Francisco Ferreira In CS53, Features, From The Magazine

Role Models: The Films of Matías Piñeiro

By Quintin In CS52, Features, From The Magazine

Burru’s Abominable Dialectic: Nicolas Rey’s autrement, la Molussie

By Michael Sicinski In CS52, Features, From The Magazine

Blood and Thunder: Enter the Leviathan

By Phil Coldiron In CS52, Features, From The Magazine

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

Kinbrody and the Ceejays: Richard Brody’s Everything Is Cinema

By Bill Krohn In CS38, Features, From The Magazine

We Can’t Go Home Again: Nicholas Ray’s Film Maudit Restored

By Gabe Klinger In CS48, Features, From The Magazine

Random Notes on a Projection of The Clock by Christian Marclay at the Los Angeles County Museum of Art, 4:32 pm, July 28, 2011-5:02 pm, July 29, 2011

By Thom Andersen In CS48, Features, From The Magazine

Between Two Eyes: Four Emergent Avant-Garde Film/Videomakers for the New Decade

By Michael Sicinski In CS47, Features, From The Magazine

Let the Readings Fly: Jiang Wen Reaches for the Mainstream

By Shelly Kraicer In CS47, Features, From The Magazine

We Need to Talk About Terry: A Roundtable on The Tree of Life

By Cinema Scope In CS47, Features, From The Magazine

Worlds of Possibilities: Christian Petzold, Dominik Graf, and Christoph Hochhäusler’s Dreileben

By Dennis Lim In CS46, Features, From The Magazine

The Party’s Over: 2010 in TV

By Adam Nayman In CS46, Features, From The Magazine

When the Salt Attacks the Sea: The Films of Mohammad Rasoulof

By Michael Sicinski In CS46, Features, From The Magazine

Features | Listen to Britain: On the Outskirts with Ben Rivers

By Michael Sicinski In CS43, Features, From The Magazine

Features | All Points West

By Max Goldberg In CS45, Features, From The Magazine

Features | Agrarian Utopias/Dystopias: The New Nonfiction

By Robert Koehler In CS40, Features, From The Magazine

Features | Unchained Melodies: The Agony and Ecstasy of Phil Spector and It Felt Like a Kiss

By Thom Andersen In CS44, Features, From The Magazine

Features | The Road to In the Loop: British Satire-Sitcom-Cinema

By Henry Miller In CS40, Features, From The Magazine

Features | Cast Glances: Thomas Comerford’s The Indian Boundary Line and the Contemporary Landscape Film

By Tom McCormack In CS44, Features, From The Magazine

Features | Mariano Llinás and Other Argentinean Species: Beyond Official Cinema

By Quintin In CS40, Features, From The Magazine

Features | Taking Time: Peter Schreiner Returns

By Christoph Huber In CS42, Features, From The Magazine

Features | The Poetics of Departure: Kurosawa at 100

By Andrew Tracy In CS43, Features, From The Magazine

Features | Songs of Innocence & Experience: Spike Jonze, Wes Anderson and the Post-Boomer

By Michael Sicinski In CS41, Features, From The Magazine

Features | A Matter of Life and Death: Lu Chuan and Post-Zhuxuanlu Cinema

By Shelly Kraicer In CS41, Features, From The Magazine

The Systematically Incomplete Dialectical Process, or, Articulations of Structural Mythopoeia in the Para-Classical Realm for the Metrickally Measured Linguistical Motivics and Deeply Felt Cinematic Appoggiatura of Mr. David Gatten, Gentleman by Michael Sicinski

By Michael Sicinski In CS49, Features, From The Magazine

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THE DECADE'S TOP TEN
- Cinema Scope 82: Editor’s Note — Best of the Decade
Interviews
Features
Columns
Festivals Spotlight
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.

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 City by Jordan Cronk This More →
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. More →
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. More →
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. More →
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. More →