This is the complete list of articles from magazine issue of Cinema Scope issue 54. 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.

* Articles available available free online

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Interviews

Leaping and Looping with Shane Carruth – By Robert Koehler

*After-School Special: Joseph Kahn’s Detention – By Adam Nayman

*Middlegame: An Interview with Andrew Bujalski – By Phil Coldiron

Features

*An Ursine Halfabet: Denis Côté’s Vic+Flo ont vu un ours – By Michael Sicinski

*One Horizontal, One Vertical: Some Preliminary Observations on Wong Kar-wai’s The Grandmaster – By Shelly Kraicer

Inner Image Collage (for Tony Scott) – By Daniel Kasman

*Fire in Every Shot: Wang Bing’s Three Sisters – By Thom Andersen

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*Editor’s Note

Deaths of Cinema: Michael Winner – By Christoph Huber

*Film/Art: Lonnie van Brummelen & Siebren de Haan – By Andréa Picard

Spare Change: Into Pat Collins’ Silence – By Jason Anderson

Rotterdam: Cristi Puiu’s Three Interpretation Exercises – By Aaron Cutler

Sundance: American Promise – By Jay Kuehner

*Global Discoveries on DVD – By Jonathan Rosenbaum

Books Around – By Olaf Möller

Canadiana: David Pike’s Canadian Cinema Since the 1980s: At the Heart of the World – By Steve Gravestock

*Exploded View: Chumlum – By Chuck Stephens

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*Passion – By Andrew Tracy

*Django Unchained – By Quintín

Tchoupitoulas – By Calum Marsh

*You Ain’t Seen Nothin’ Yet – By Blake Williams

Tricked – By Adam Nayman

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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 →