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

Follow

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From the Magazine

  • Cinema Scope 81 Table of Contents

    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 More →

  • Anything Is Possible: Josh and Benny Safdie on Uncut Gems

    At this point, the Safdies are young masters of their own aesthetic, which was in formation at the time of Daddy Longlegs but felt more fully realized in Heaven Knows What:a roving, probing, pulsating audiovisual weave that doesn’t so much privilege pace over clarity as locate one in the other. Their movies can be exhausting, enervating, and even annoying (and Sandler, to his credit, achieves genuine annoyance in many passages here), but they’re never confusing, and the lucidity of their storytelling—which never wavers even when their characters have no earthly idea what they’re doing—has become one of contemporary American cinema’s true and distinctive marvels. More →

  • They Are All Equal Now: The Irishman’s Epic of Sadness

    Since cinema is moving toward television, and since the MCU generation is trying to actually tussle with a good fella like Martin Scorsese, and since all of this is wrapped around a cultural moment steeped in glorious contradictions, the timing of The Irishman couldn’t be more perfect. More →

  • Far from Paradise: Nina Menkes’ Queen of Diamonds

    By Erika Balsom Diamonds are sharp and hard, rich in myth and violence, soaked in desire, totally under the putrid spell of money. They are, More →

  • Garden Against the Machine: Ja’Tovia Gary’s The Giverny Document

    By Michael Sicinski Ja’Tovia Gary’s filmmaking is all to some extent grappling with the question of identity, particularly its precariousness in an often hostile world. More →