Interviews

The Land Demands Your Effort: C.W Winter (and Anders Edström) on The Works and Days (of Tayoko Shiojiri in the Shiotani Basin) by Mark Peranson

DAU. Diary & Dialogue. Part One: A Living World by Jordan Cronk

As If We Were Dreaming It: Christian Petzold’s Undine by James Lattimer

The Math of Love Triangles: Athina Rachel Tsangari’s Trigonometry by Adam Nayman

Features

“In Search of the Female Gaze” by Erika Balsom

The Limits of Control: The Militant Cinema of Med Hondo by Kate Rennebohm

Traces of Desire: Robert Kramer in France by Jerry White

In Search of the Female Gaze by Erika Balsom

Have It Your Own Way: Dorothy Arzner’s Dance, Girl, Dance by Alicia Fletcher

Live(stream) and In Person: Watching Zia Anger’s My First Film in the Age of Quarantine by Jessica McGoff

Six Impossible Colours (Out Of Space): H.P. Lovecraft and Cinema by Christoph Huber

Columns

TV or Not TV: “Ozark’s America and the Rise of the Longform” by Robert Koehler

Editor’s Note

Film/Art: Igor Levit’s Hauskonzerts by Shelly Kraicer

TV or Not TV: Ozark’s America and the Rise of the Longform by Robert Koehler

Festivals

Visions du Réel 2020 by Michael Sicinski

Global Discoveries on DVD by Jonathan Rosenbaum

Exploded View: No President by Chuck Stephens

Currency

Never Rarely Sometimes

Never Rarely Sometimes Always by Courtney Duckworth

Blood Quantum by Mallory Andrews

The Vast of Night by Anna Swanson 

s01e03 by Josh Cabrita

Web Extra

Festivals

There Can Be a Better World: The 2020 Images Festival by Cayley James

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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 →