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 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

Features

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

Columns

Editor’s Note: Best of the Decade

Film/Art

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

Festivals

Sundance by Robert Koehler

Global Discoveries on DVD by Jonathan Rosenbaum

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

Currency

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 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 →