INTERVIEWS

Apt Pupil: Bi Gan on Long Day’s Journey Into Night
By Blake Williams

I Like America and America Likes Me: An Interview with Lars von Trier
By Mark Peranson

The Morals of Nature: Lee Chang-dong on Burning
By Jordan Cronk

FEATURES

Exchange Rate: The Silent Partner at 40
By Adam Nayman

Transgressions in the Dark Age: The Films of Kim Ki-young and Lee Hwa-si
By Kelley Dong

Towards an Anthropology of Colour: The Films of Sara Cwynar
By Phil Coldiron

Corrupted Affections: Bill Gunn in the Rear-View
By Steve Macfarlane

Last One Out of Germany: Ulrich Köhler’s In My Room
By Michael Sicinski

SPOTLIGHT

Cannes 2018: The Debussy Cramp
By Mark Peranson

Le livre d’image
By Andréa Picard

Shoplifters
By Mallory Andrews

BlacKkKlansman
By Richard Porton

Happy as Lazzaro
By Celluloid Liberation Front

Ash Is Purest White
By James Lattimer

Asako I & II
By Josh Cabrita

Dead Souls
By Jesse Cumming

Climax
By Lawrence Garcia

COLUMNS

Editor’s Note
By Mark Peranson

Deaths of Cinema: Pierre Rissient
By Scott Foundas

Deaths of Cinema: Michael Anderson
By Christoph Huber

DVD Bonus: Fritz Lang’s While the City Sleeps and Beyond a Reasonable Doubt
By Sean Rogers

Global Discoveries on DVD
By Jonathan Rosenbaum

Exploded View: Stanya Kahn and Harry Dodge’s Whacker
By Chuck Stephens

CURRENCY

Filmworker
By Robert Koehler

The Rider
By Chelsea Phillips-Carr

Drift
By Jay Kuehner

Shirkers
By Angelo Muredda

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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 →