INTERVIEWS

*Paul Schrader: Deliberate Boredom in the Church of Cinema. By Alex Ross Perry.

Community/Theatre: A Conversation with Stephen Cone. By Blake Williams.

*Whatever Happened to Lizzie Borden? By Christoph Huber.

Let Art Flourish, Let the World Perish: Morgan Fisher on Another Movie. By Jordan Cronk

FEATURES

*“You Never Heard of Code-Switching, Motherfucker?”: Joseph Kahn’s Bodied. By Steven Shaviro.

*The Changing View of Man in the Portrait: Errol Morris’ Wormwood. By Lawrence Garcia.

*Do It Again: On Ricky D’Ambrose’s Words and Images. By Phil Coldiron.

In Measured Praise of Kawase Naomi. By Michael Sicinski.

The Mistress of Suspense: Daphne du Maurier and Alfred Hitchcock’s Rebecca. By Alicia Fletcher.

Let England Shake: Mick Jackson’s Threads and the Imagination of Disaster. By Adam Nayman.

COLUMNS

*Editor’s Note: Top Ten of 2017

Film/Art

Yto Barrada. By Jesse Cumming.

Deaths of Cinema: Paul Clipson. By Max Goldberg

Festivals

Sundance. By Robert Koehler.

Berlin. By Adam Cook.

TV or Not TV

The Leftovers. By Kate Rennebohm.

DVD Bonus: Suzuki Seijun’s Taisho Trilogy. By Sean Rogers.

*Global Discoveries on DVD. By Jonathan Rosenbaum.

Canadiana

Robin Aubert’s Les affamés. By Lydia Ogwang.

*Exploded View: Bruce Conner’s Crossroads. By Chuck Stephens.

CURRENCY

*Visages villages. By Erika Balsom.

Ava. By Josh Cabrita.

*The Work. By Manuela Lazic.

High Fantasy. By Simran Hans.

A Fantastic Woman. By Angelo Muredda.

Follow

Friend me on FacebookFollow me on TwitterRSS Feed

From the Magazine

  • Cinema Scope Issue 86 Table of Contents

    The Cinema Scope Top Ten of 2020 Interviews The Girl and the Spider *En plein air: Denis Côté on Hygiène sociale by Jordan Cronk *The More →

  • The Cinema Scope Top Ten of 2020

    1. Days (Tsai Ming-liang) 2. The Works and Days (of Tayoko Shiojiri in the Shiotani Basin) (C.W. Winter and Anders Edström) 3. The Year of More →

  • 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 →