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 Dream Will Be Dreamed Again: Luis López Carrasco’s El año del descubrimiento by James Lattimer

Out of the Inkwell: Kim Deitch on Reincarnation Stories by Sean Rogers


Impresión de un cineasta: On the Films of Camilo Restrepo by Jay Kuehner

The Oral Cinema of Sergio Citti by Celluloid Liberation Front

Rabbit, Run: Elem Klimov’s Come and See by Angelo Muredda

Vagabond: The Films of Patricia Mazuy by Lawrence Garcia

Spotlight: The Decade in Canadian Cinema

Long Live the New Flesh: The Decade in Canadian Cinema by Adam Nayman

Jodie Mack by Sofia Bohdanowicz

Corneliu Porumboiu by Antoine Bourges

Jean-Luc Godard by Andrea Bussmann

Sergei Loznitsa by Atom Egoyan

Jafar Panahi by Hugh Gibson

Caveh Zahedi by Matt Johnson

Steven Spielberg by Isiah Medina

Angela Schanelec by Kazik Radwanski

Lucrecia Martel by Lina Rodriguez

Jem Cohen by Brett Story

Amanda Kernell by Elle-Máijá Tailfeathers

Ang Lee by Blake Williams


Editor’s Note: Best of the Decade


Against Mythomania: The Expanded Cinema of Valie Export by Lucy Brady

TV or Not TV

Exit, Pursued by a Fox: Phoebe Waller-Bridge’s Fleabag by Alicia Fletcher


Sundance by Robert Koehler

Global Discoveries on DVD by Jonathan Rosenbaum

Exploded View: Gregory Zinman’s Making Images Move by Chuck Stephens


Beanpole by Michael Sicinski

And Then We Danced by Katherine Connell

Murmur by Josh Cabrita

The Assistant by Chloe Lizotte

Saint Maud by Jason Anderson

Web Only

Discrete Charms: Rotterdam’s Tiger Short Competition by Phil Coldiron


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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 →

  • The Cinema Scope Top Ten of 2020

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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 →