This is the complete list of articles from magazine issue of Cinema Scope issue 56. We post a few selected articles from each issue on the site. For the complete content, and to help Cinema Scope continue, please subscribe to the magazine, or consider the instant digital download version.

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Fall Festival Preview



The Beauty of Horror and the Horror of Beauty: An Encounter with Albert Serra, by Mark Peranson

A Parade of Images Speaking for Themselves: Blutch’s So Long, Silver Screen, by Sean Rogers

Shine a Light: Ben Rivers and Ben Russell’s A Spell to Ward Off the Darkness, by Michael Sicinski



A Truck Full of Turkeys: Thoughts on Joaquim Pinto’s What Now? Remind Me, by Francisco Ferreira

Killed the Family and Went to the Movies: The Sentimental Education of Júlio Bressane, by Celluloid Liberation Front

A Liar’s Autobiography: The Return of Alejandro Jodorowsky, by Quintín

Sunny Pleasure Domes with Caves of Ice: Politics and the Asian Blockbuster, by Tony Rayns

Women Under the Influence: Hong Sangsoo’s Nobody’s Daughter Haewon and Our Sunhi, by Jordan Cronk

Master Shots: Tsai Ming-liang’s Late Digital Period, by Blake Williams

Pilgrim’s Progress: Manakamana, by Jay Kuehner

Black, White, and Giallo: Forzani and Cattet’s The Strange Colour of Your Body’s Tears, by Jason Anderson

Athens Decathlon: TIFF 2013 City to City, by Adam Nayman

Temps mort: Jim Jarmusch’s Only Lovers Left Alive, by Andrew Tracy

The Man Who Left His Notes on Film: Norbert Pfaffenbichler, by Christoph Huber

The End of Cinema: La última película, by Phil Coldiron


Film/Art: Camille Henrot, by Andréa Picard

Spare Change: Harry Tomicek, by Olaf Möller

Global Discoveries on DVD, by Jonathan Rosenbaum

Exploded View: Will Hindle, by Chuck Stephens

Web Only

This Is Martin Bonner, by Calum Marsh



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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 →