Interviews 

No God But the Unknown Pietro Marcello and Maurizio Braucci on Martin Eden by Jordan Cronk

I See a Darkness: Pedro Costa on Vitalina Varela by Haden Guest and Mark Peranson

Naked in Paris: Nadav Lapid on Synonyms by Robert Koehler

Features

Natural Wonders: The Films of Jessica Sarah Rinland by Darren Hughes

Woman on the Verge of a Nervous Breakdown: Kazik Radwanski’s Anne at 13,000 ft by Josh Cabrita

The Taste of Summer: The Film Farm at 25 by Cayley James

For a Cinema of Bombardment by Michael Sicinski

Together We’re Willing to Take Any Risk: The Films of Han Ok-hee and Kaidu Club by Jesse Cumming

Land and Sea: Ogawa Shinsuke and Tsuchimoto Noriaki by Christopher Small

Occupational Hazard: On Earth and Other Recent Films by Nikolaus Geyrhalter by Jay Kuehner

Columns

Editor’s Note by Mark Peranson

Festivals

Locarno by James Lattimer

Books

J. Hoberman’s Make My Day: Movie Culture in the Age of Reagan by Adam Nayman

Chantal Akerman’s My Mother Laughs by Phoebe Chen

TV or Not TV

Too Old to Die Young by Christoph Huber

Global Discoveries on DVD by Jonathan Rosenbaum

Exploded View: Peter Fonda’s Idaho Transfer by Chuck Stephens

Currency

Fire Will Come by Azadeh Jafari


No Data Plan by Erika Balsom

The Traitor by Celluloid Liberation Front

Light From Light by Lawrence Garcia

Midsommar by Angelo Muredda

Web Only

The Films of Zachary Epcar by Phil Coldiron

Deaths of Cinema: D.A. Pennebaker by Jerry White

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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 →