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 83 Table of Contents

    Interviews *DAU. Diary & Dialogue. Part One: A Living World, by Jordan Cronk The Land Demands Your Effort: C.W Winter (and Anders Edström) on The More →

  • The Land Demands Your Effort: C.W Winter (and Anders Edström) on The Works and Days (of Tayoko Shiojiri in the Shiotani Basin)

    Though the process of watching the onset of life’s end yields gut-wrenching moments, some recorded, some reconstructed, it makes little sense to extract one scene from the whole picture, as the film’s ultimate strength lies in its refusal to privilege, well, anything: an image of a tree means as much as a visit to an onsen, three people walking in the dark, a farmer hoeing her land, or a black screen with no image at all, only an intricately composed soundscape (as the quote introducing the film reads, “Until the moment you are dead you can still hear”). Make no mistake: though mortality is front and centre, this is a salute to the possibilities provided by cinema, a celebration of life. More →

  • DAU. Diary & Dialogue. Part One: A Living World

    At the press conference for the premiere of DAU. Natasha at this year’s Berlinale, director Ilya Khrzhanovsky pre-empted questions regarding the controversial methods involved in the realization of his 14-year passion project—collectively known as DAU—by contrasting the experiences of his actors with the everyday lives of their Soviet-era characters. “All the feelings [depicted in the film] are real,” he said, “but the circumstances are not real in which these feelings happen. More →

  • The Math of Love Triangles: Athina Rachel Tsangari’s Trigonometry

    The most arresting image in the new BBC Studios series Trigonometry (airing in the US this summer on HBO Max and in Canada on CBC Gem) comes in the fifth episode, when restaurateur Gemma (Thalissa Teixeira), in the middle of a difficult Nordic honeymoon getaway with her new husband Kieran (Gary Carr), goes on an evening field trip to see the Northern Lights. As Kieran sulks back at the hotel, she gazes up at a display that imbues the uncanny sensation—for the character, as well as the audience—of a planetarium-show special effect despite its you-are-there authenticity. More →

  • In Search of the Female Gaze

    The trope of a woman removing her glasses to suddenly reveal her great beauty is as familiar as it is eye-roll-inducing. She never looks that different, but her status as an erotic object changes immediately and immensely. A classic example is Dorothy Malone as a bookstore clerk in The Big Sleep (1946), but more recently there is Rachel Leigh Cook descending the stairs to the saccharine sounds of “Kiss Me” in She’s All That (1999). Give up your active gaze, this convention seems to say, and you will be alluring. More →