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 80 Table of Contents

    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 More →

  • No God But the Unknown: Pietro Marcello and Maurizio Braucci on Martin Eden

    By Jordan Cronk “Of course it was beautiful; but there was something more than beauty in it, something more stingingly splendid which had made beauty More →

  • I See a Darkness: Pedro Costa on Vitalina Varela

    A moving study of mourning and memory, Pedro Costa’s revelatory new film offers an indelible portrait of Vitalina Taveres Varela, a fragile yet indomitable woman who makes the long voyage from Cape Verde to Lisbon to attend her estranged husband’s funeral, but misses the event itself because of cruel bureaucratic delays. More →

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

    The prospect of spending an hour and a half with people lacking in notable virtue, alluring vice, or any apparent interest, may seem like an unproductive exercise in forced empathy—but consider this skepticism a function, as opposed to a fault, of these tightly orchestrated, seemingly soporific character studies. More →

  • For a Cinema of Bombardment

    Although there have always been intrepid critics and cinephiles who have engaged with films belonging to the non-narrative avant-garde, there has existed a perception that such films, operating as they do on somewhat different aesthetic precepts, could be considered a separate cinematic realm, one that even the most dutiful critic could engage with or not, as he or she saw fit. More →