INTERVIEWS

*Teller of Tales: Mariano Llinás on La Flor by Jordan Cronk

*Everything Transitory Is But an Image: Andrea Bussmann on Fausto by Josh Cabrita and Adam Cook

A Banished Life: Ying Liang on A Family Tour by Clarence Tsui.

*Mass Ornaments: Jodie Mack on The Grand Bizarre by Blake Williams

FEATURES

*Tous les garçons et les filles: Philippe Lesage’s Genèse and Les demons by Adam Nayman

*Touch Me I’m Sick: Alex Ross Perry’s Her Smell by Jason Anderson

*First Person Plural: On Orson Welles’ The Other Side of the Wind by Phil Coldiron

Hidden Lives and Quiet Passion: Alias John M. Stahl by Christoph Huber

No Emperor, Only an Empress: The Self-Made Myth of Marlene Dietrich by Alicia Fletcher

The Business of Horror: John Carpenter, Stephen King, and In the Mouth of Madness by Sean Rogers

Beyond Good and Evil: Damon Packard’s Los Angeles by Michael Sicinski

On No Thing: Jean-Luc Godard’s Grandeur et décadence d’un petit commerce de cinéma by Lawrence Garcia

COLUMNS

*Editor’s Note by Mark Peranson

*Deaths of Cinema: Hu Bo by Celluloid Liberation Front

Film/Art: Jeremy Shaw’s Quantification Trilogy by Jesse Cumming

*Global Discoveries on DVD by Jonathan Rosenbaum

DVD Bonus: G.W. Pabst’s Westfront 1918 and Kameradschaft by Peter Mersereau

*Exploded View: Robert Smithson’s Spiral Jetty by Chuck Stephens

CURRENCY

*Transit by James Lattimer

Sorry to Bother You by Madeleine Wall

Blaze by Robert Koehler

*The Load by Azadeh Jafari

Follow

Friend me on FacebookFollow me on TwitterRSS Feed

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 →