Features

Philosophy in the Woods: Albert Serra’s Libertines by Phil Coldiron

Come on Feel the Noise: The Films of Andrés Duque by Leo Goldsmith

Truth and Method: The Films of Thomas Heise by Michael Sicinski

A Case for “Mere” Recording: Films by Ryan Ermacora and Jessica Johnson by Jaclyn Bruneau

Thinking in Images: Scott Walker and Cinema by Christoph Huber

The Meeting of Two Queens: Doris Wishman and Peggy Ahwesh by Elena Gorfinkel

The Good Fight: The Films of Julia Reichert by Bob Kotyk

Spotlight

Cannes 2019: Return to Form by Mark Peranson

Parasite by Adam Cook

Atlantique by Jesse Cumming

Bacurau by James Lattimer

It Must Be Heaven by Richard Porton

Mektoub, My Love: Intermezzo by Giovanni Marchini Camia

Jeanne by Blake Williams

Tommaso by Manuela Lazic

Killer Styles: The 51st Quinzaine des Réalisateurs by Jordan Cronk

J’ai perdu mon corps by Jason Anderson

Nuestras Madres by Ela Bittencourt

Columns

Editor’s Note by Mark Peranson

Deaths of Cinema: Agnès Varda, 1928–2019 by Jess Cotton

Film/Art: The 58th Venice Biennale by Erika Balsom

TV or Not TV: Succession by Brendan Boyle

Global Discoveries on DVD by Jonathan Rosenbaum

Exploded View: Flaubert Dreams of Travel But the Illness of His Mother Prevents It by Chuck Stephens

Currency

The Souvenir by Robert Koehler

The Hottest August by Adam Nayman

Diamantino by Angelo Muredda

Too Late to Die Young by Josh Cabrita

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 →