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 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 →

  • TV or Not TV | The Politics of Dancing: Adam Curtis’ Can’t Get You Out of My Head

    With the arrival of any new Adam Curtis film comes a deluge of coverage, commentaries, analysis, harangues, point-counterpoints, fact checks, further-reading lists, and good old-fashioned snark spread across an ever-expanding plethora of platforms. The resulting cacophony makes one of the fundamental appeals of Curtis’ practice—his seeming ability to wrest a temporary sense of order and coherence from a dense matrix of ideas, factoids, fragments, and audiovisual ephemera from deep within the BBC archive that otherwise threatens to feel as disordered and disorienting as everyday life—seem all the more valuable. More →

  • DVD | Reclaiming the Dream: Joyce Chopra’s Smooth Talk

    Her reflection comes as a revelation. In the safety of her bedroom, Connie (Laura Dern), the 15-year-old protagonist of Joyce Chopra’s 1985 feature debut Smooth Talk (recently released on a Criterion Blu-ray), adjusts her new halter top in the mirror, its strings crisscrossed down the middle of her chest to hang limp over her exposed midriff. The camera observes her in profile as she spins and arches her back, her gaze glued to the supple body in the reflection, luxuriating in her new possession. More →

  • Gag Orders: The Trial of the Chicago 7 and Judas and the Black Messiah

    Bobby Seale makes a cameo of sorts midway through Judas and the Black Messiah, as Martin Sheen’s porcine J. Edgar Hoover—checking in personally on the progress of the FBI’s campaign against Chicago Black Panther Party chairman Fred Hampton (Daniel Kaluuya)—is shown an artist’s sketch of the BPP’s national chairman gagged and shackled in the courtroom during the Chicago Conspiracy Trial. This revolting spectacle understandably serves as the mid-film dramatic highpoint of The Trial of the Chicago 7, when the repeated, suitably indignant demands by Seale (Yahya Abdul-Mateen II) to serve as his own defense counsel in the absence of his hospitalized lawyer—and presiding judge Julius Hoffman’s (Frank Langella) incredible refusal to grant this right, instead directing that Seale’s defense should be undertaken by the representatives for the other defendants—ultimately lead to him being bodily removed from the courtroom by marshals and returned in chains. That image of a defiant Black man, forcibly silenced and immobilized in a hall of American justice, became one of William Burroughs’ “frozen moment[s] at the end of the newspaper fork,” when everyone—including those who would applaud it—can see what they’re being fed. More →