cinema-scope-issue-67This the full table of contents from Cinema Scope Magazine #67. We post selected articles from each issue on the site which you can read for free using the links below. This is only possible with support from our subscribers, so please consider a subscription to the magazine, or  the instant digital download version. 


FEATURES

lav diaz

*El Filibustero: Lav Diaz’s A Lullaby to the Sorrowful Mystery by Michael Sicinski

Quiet Devastation: Rediscovering Gérard Blain by Christoph Huber

The Changing of the Age: Pere Portabella on Informe General II  by Jerry White

The Brush of Time: Drawing a Portrait of John Berger by Esther Yi

A Victory Against Stupidity, Contempt, and the Pimps of the Filmmaking Sector
Jean-Marie Straub & Danièle Huillet and Writings by Dan Sullivan

Seeing Stones: On Jean-Marie Straub & Danièle Huillet’s Antigone by Phil Coldiron

*Power of Attorney: Better Call Saul by Adam Nayman

American-Made Murder: Ryan Murphy’s The People v. O.J. Simpson and Ezra Edelman’s O.J.: Made in America by Angelo Muredda

*The Gag of Realism: Nathan For You by Benny Safdie

SPOTLIGHT: CANNES 2016

mendonca

*Cannes 2016: Gentlemen, We’ll Do Better Next Time by Mark Peranson

*A Battle of Humour: Maren Ade on Toni Erdmann by Mark Peranson

*Sieranevada by Jordan Cronk

Paterson by Richard Porton

*Termite Art: Kleber Mendonça Filho on Aquarius by Robert Koehler

*La mort de Louis XIV  by Blake Williams

The Happiest Day in the Life of Olli Mäki by Jason Anderson

*Mimosas by Jay Kuehner

COLUMNS

ma-loute

*Editor’s Note

*Film/Art

Bruno Dumont’s Ma Loute by Andréa Picard

*Books

David Bordwell’s The Rhapsodes by Andrew Tracy

*Global Discoveries on DVD by Jonathan Rosenbaum

*Exploded View: Robert Nelson’s Bleu Shut by Chuck Stephens

WEB ONLY

ali

Deaths of Cinema: Muhammad Ali: The Man Who Would Be Cinema by Celluloid Liberation Front

CURRENCY

love and friendship

Dheepan by Adam Nayman

*Love and Friendship by Alicia Fletcher

Everybody Wants Some!! by Sean Rogers

The Wailing by Robert Koehler

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From the Magazine

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  • The Primacy of Perception: Ramon & Silvan Zürcher on The Girl and the Spider

    Near the midpoint of The Girl and the Spider—Ramon and Silvan Zürcher’s overdue, much anticipated follow-up to their masterful debut feature, The Strange Little Cat (2013)—a character launches into another of the Zürcher brothers’ distinctive anecdotal monologues. Mara (Henriette Confurius), who is as close as this film gets to a protagonist, describes for her neighbour, Kerstin (Dagna Litzenberger-Vinet), an incident that occurred the previous day between herself and her newly ex-roommate (and perhaps ex-girlfriend) Lisa (Liliane Amuat). “I was in my room while Lisa was on the toilet,” she recounts. “She asked me to bring her a roll of toilet paper. Instead of giving it to her, I walked past the door from left to right, from Lisa’s point of view.” The image cuts to the scene while she recalls it, privileging us with a more objective account of the incident: a fixed shot showing Mara stand up from her desk, grab a package of toilet paper, and march past the door, her arms outstretched like a zombie. More →

  • Exploded View: Steina & Woody Vasulka

    Icelandic filmmaker Hrafnhildur Gunnarsdóttir’s extraordinarily warming 2019 documentary The Vasulka Effect, about the protean Euro-hippies and rightfully dubbed “grandparents of video art,” Steina and Woody Vasulka, was exactly the movie I needed to see this winter. Awash in Nordic echoes even as it confronts the modern realities of art-gallery politics and the history of America’s visual-arts fringes, it’s a mythical origin story that’s actually true, all about ancient heroes and ravaging time. More →

  • Canadiana | Reading Aids: The Good Woman of Sichuan and Ste. Anne

    When navigating the as-yet-unknown films of a festival program, nationality still provides a persuasive point of reference for some, a feeling underlined by the proud declarations issued by national funding organizations, promotional bodies, or particularly partisan members of the press once titles have been announced. This year’s reduced Berlinale Forum lineup also invites tenuous lines of this kind to be drawn (two films from Argentina, two films from Canada!), although the three Franco-German co-productions shot elsewhere say far more about how films are made in 2021. More →