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 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 →