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

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  • 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 →