Interviews

Anything Is Possible: Josh and Benny Safdie on Uncut Gems by Adam Nayman

A Concept of Reality: Sergei Loznitsa’s State Funeral by Daniel Kasman

Fairytales and Freudian Females: A Conversation with Jessica Hausner by Jordan Cronk

Features

They Are All Equal Now: The Irishman’s Epic of Sadness by Robert Koehler

I Shall Be Released: Amazing Grace and Rolling Thunder Revue by Christoph Huber

Far from Paradise: Nina Menkes’ Queen of Diamonds by Erika Balsom

Garden Against the Machine: Ja’Tovia Gary’s The Giverny Document by Michael Sicinski

Training to Failure: Lisa Steele’s Very Personal Stories by Cayley James

Works and Days: The Incomplete SOLARIUMAGELANI by Phil Coldiron

Spotlight

Collective by Jay Kuehner

Mafia Is No Longer What It Used to Be by Celluloid Liberation Front

Ne croyez surtout pas que je hurle by James Lattimer

The Painted Bird by Tom Charity

The Twentieth Century by Josh Cabrita

A Voluntary Year by Lawrence Garcia

White Lie by Madeleine Wall

Columns

Editor’s Note

Deaths of Cinema: Luis Ospina, 1949-2019 by Steve Macfarlane

Film/Art

Silence Is Falling: The Experimental Films of Marinella Pirelli by Jesse Cumming

Books

Où est le cinéma? On Sontag: Her Life and Work by Jerry White

Global Discoveries on DVD by Jonathan Rosenbaum

Exploded View

Peter Emanuel Goldman’s Pestilent City by Chuck Stephens

Currency

Jojo Rabbit by Angelo Muredda 

Ad Astra by Mallory Andrews

In Fabric by Jason Anderson

Mister America by Brendan Boyle

Portrait de la jeune fille en feu by Chloe Lizotte

Web Extra

Invisible Life by Katherine Connell

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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 →