INTERVIEWS AND FEATURES

The Land of the Unknown: Roberto Minervini on What You Gonna Do When the World’s on Fire? by Jordan Cronk

“Poetry floats up in my memory like sailboats in the fog”: Alexei German’s Khrustalyov, My Car! by Daniel Witkin

With Forever Presence: Jonathan Schwartz (1973-2018) by Max Goldberg

Soft and Hard: Claire Denis on High Life by Adam Nayman

Encore: Dora García’s Segunda vez by Michael Sicinski

Learning to Live Together: Three Films by Beatrice Gibson by Phil Coldiron

Woman with a Whip: The Transgressive Westerns of Barbara Stanwyck by Alicia Fletcher

Ghost Operas: Music from the Films of Bertrand Bonello by Sean Rogers

SPOTLIGHT: FALL FESTIVAL HIGHLIGHTS

Belmonte by Darren Hughes

Edge of the Knife by Jesse Cumming

I Remember the Crows by James Lattimer

A Land Imagined by Lawrence Garcia

Manta Ray by Jennifer Lynde Barker

Nervous Translation by Erika Balsom

Our Time by Blake Williams

Rojo by Jay Kuehner

COLUMNS

Editor’s Note

Deaths of Cinema: Burt Reynolds by Christoph Huber

Film/Art: Richard Billingham’s RAY & LIZ and Yervant Gianikian & Angela Ricci Lucchi’s I diari di Angela—Noi due cineasti by Andréa Picard

Canadiana: Highlights from the Year in Canadian Shorts by Josh Cabrita

TV or Not TV: A Tale of Two Handmaids by Jerry White

Global Discoveries on DVD by Jonathan Rosenbaum

Exploded View: Ken Jacobs’ Nervous Magic Lantern by Chuck Stephens

WEB ONLY

Festivals: Doclisboa 2018 by Christopher Small

Festivals: RIDM 2019 by Justine Smith

CURRENCY

Roma by Robert Koehler

A Star Is Born by Mallory Andrews

The Favourite by Courtney Duckworth

Green Book by Angelo Muredda

Tagged with →  

Follow

Friend me on FacebookFollow me on TwitterRSS Feed

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 →