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 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 →