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 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 →