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

  • Issue 84 Table of Contents

    INTERVIEWS *The Act of Living: GianfrancThe Act of Living: Gianfranco Rosi on Notturnoo Rosi on Notturno By Mark Peranson*Reconstructing Violence: Nicolás Pereda on Fauna By More →

  • The Act of Living: Gianfranco Rosi on Notturno

    “The night scares me so much,” confesses a courageous Yazidi pre-teen girl to a therapist, remembering the period when she and her younger sister were captured by ISIS. Anyone who was seen crying would be killed, they were told; it turned out to be a vacant threat, but the sisters were still beaten, and now they are attempting to exorcise their memories by drawing pictures of them. Does it help? We never find out. More →

  • Reconstructing Violence: Nicolás Pereda on Fauna

    There’s a point in nearly every Nicolás Pereda film when the narrative is either reoriented or upended in some way. In the past this has occurred through bifurcations in story structure or via ruptures along a given film’s docufiction fault line. Pereda’s ninth feature, Fauna, extends this tradition, though its means of execution and conceptual ramifications represent something new for the 38-year-old Mexican-Canadian filmmaker. More →

  • I Lost It at the Movies: Charlie Kaufman’s Antkind and I’m Thinking of Ending Things

    “It’s all planned, but it isn’t thought out,” wrote Pauline Kael in her review of A Woman Under the Influence (1974), a nifty bit of critical jiu-jitsu turning John Cassavetes’ much-theorized—and, during Kael’s reign at The New Yorker, much-derided—technique of spontaneous improvisation within a dramatic framework against him. More →

  • Open Ticket: The Long, Strange Trip of Ulrike Ottinger

    One of the most surprising things about Ulrike Ottinger’s new documentary Paris Calligrammes is how accessible it is. Some cinephiles may be familiar with Ottinger based on an 11-year period of mostly fictional productions that were adjacent to the New German Cinema but, for various reasons, were never entirely subsumed within that rubric. Others are quite possibly more aware of her later work in documentary, in particular her commitment to a radical form of experimental ethnographic cinema. More →