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

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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 →