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

  • 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 →