Alexandre Koberidze, Dasha Nekrasova,Radu Jude, Amalia Ulman, Monte Hellman, TV or not TV, Eberhard and Phyllis Kronhausen, Azor, New Order, Siberia
- Can’t Get You Out of My Head: Dasha Nekrasova on The Scary of Sixty-First
- It Happened One Night: Alexandre Koberidze on What Do We See When We Look at the Sky?
- The Primacy of Perception: Ramon & Silvan Zürcher on The Girl and the Spider
- En plein air: Denis Côté on Hygiène sociale
- The Act of Living: Gianfranco Rosi on Notturno
- Remembering Women: Claudia von Alemann’s Blind Spot
- Common Sense Connoisseur: The Critical Legacy of Bertrand Tavernier
- “I prefer, where truth is important, to write fiction:” On Radu Jude
- Brief Encounters: Hamaguchi Ryusuke’s Wheel of Fortune and Fantasy
- Gag Orders: The Trial of the Chicago 7 and Judas and the Black Messiah
- Exploded View | Eberhard and Phyllis Kronhausen’s Psychomontage No. 1
- TV or Not TV | Neutrality is Not an Option: Raoul Peck’s Exterminate All the Brutes
- Deaths of Cinema | Monte Hellman: The Art of Going Nowhere
- Editor’s Note: Cinema Scope Issue 87
- TV or Not TV | The Politics of Dancing: Adam Curtis’ Can’t Get You Out of My Head
From the Magazine
Issue 87: Table of contents
Remembering Women: Claudia von Alemann’s Blind Spot
Cherchez la femme, they say. It sounds nice, but what this expression actually means is that woman is the root of all (male) problems, always to blame. Claudia von Alemann’s extraordinary Blind Spot (Die Reise nach Lyon, 1980), recently restored by the Deutsche Kinemathek in cooperation with the Institut Lumière, is a rare film that puts the pursuit of a woman at its heart—not so that she can be punished, not so that a man’s troubles can be explained, but so that her achievements might be rescued from oblivion and might, in the process, change another woman’s life.
Common Sense Connoisseur: The Critical Legacy of Bertrand Tavernier
The two most cherished film books in the pile on my bedside table are in a language my command of which is rudimentary at best. But since both Jacques Lourcelles’ Dictionnaire du Cinéma – Les Films as well as Jean-Pierre Coursodon and Bertrand Tavernier’s 50 ans de cinéma américain have never been translated from French into either English or German, I gladly make do, filling the gaps with a mixture of autodidactic guesswork and occasional dictionary consultation, which for all its drawbacks has proved to be a viable method.
“I prefer, where truth is important, to write fiction:” On Radu Jude
In the name of the popular, delighting in reduction and obviousness, a boring assertion: the common ground of every film movement christened a “new wave” over the last 70 years has tended toward revision, a self-conscious desire to provide a true image of the people in opposition to the distorted picture given by whatever relevant iterations of official culture. The banality of this claim can be measured by the volume of cant and platitude produced in support of it, often by the artists themselves. There is, I hope, little need to rehearse these arguments regarding realism, myth, and so on. Who today can help but squirm when faced with the phrase “true image of the people?”
Siberia (Abel Ferrara, Italy/Germany/Mexico/Greece/UK)
Abel Ferrara is a changed man. While the evidence suggests that this is very good news for Ferrara himself and his immediate family, it could result in a minor schism in the manner in which his films are received. For most of his career Ferrara has been the subject of a Romantic cult that glorified his legendarily self-destructive behaviour, and often read this (literal) lawlessness as an integral part of his renegade creative vision.
- Issue 87: Table of contents