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 Issue 86 Table of Contents

    The Cinema Scope Top Ten of 2020 Interviews The Girl and the Spider *En plein air: Denis Côté on Hygiène sociale by Jordan Cronk *The More →

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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 →

  • Exploded View: Steina & Woody Vasulka

    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 →