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


“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


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


Visions du Réel 2020 by Michael Sicinski

Global Discoveries on DVD by Jonathan Rosenbaum

Exploded View: No President by Chuck Stephens


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


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

Tagged with →  


Friend me on FacebookFollow me on TwitterRSS Feed

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

    1. Days (Tsai Ming-liang) 2. The Works and Days (of Tayoko Shiojiri in the Shiotani Basin) (C.W. Winter and Anders Edström) 3. The Year of More →

  • 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 →