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 Issue 86 Table of Contents

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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 →

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    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 →