This the full table of contents from Cinema Scope Magazine #66. We post selected articles from each issue on the site which you can read for free using the links below. This is only possible with support from our subscribers, so please consider a subscription to the magazine, or  the instant digital download version.  Interviews Era Extraña: Lewis Klahr on Sixty…

By Jordan Cronk “I’ve been listening to all the dissension/ I’ve been listening to all the pain/ And I feel that no matter what I do for you/ It’s going to come back again”––Leonard Cohen, “Minute Prologue” An anthology film in 12 chapters, Lewis Klahr’s animated mosaic Sixty Six is both greater than the sum…

By Dan Sullivan For the past few years, Ted Fendt has been one of the busiest under-the-radar figures in film exhibition in New York: a projectionist at the Film Society of Lincoln Center, he is also the city’s go-to live-subtitler of rare, unsubtitled prints of French films, and ranks among its most active moviegoers. But…

By Michael Sicinski Initially talking stock of Mark Lewis’ new feature film Invention, I was reminded of Jonathan Rosenbaum’s remarks in his book Film: The Front Line, 1983 regarding Michael Snow. Rosenbaum compared Snow to Godard, and to another Lewis, that being Jerry. He wrote that Snow, JLG, and The Jer were interested “in fields…

By Jerry White “I should rewatch The Man Who Fell to Earth, 2001: A Space Odyssey, and All the President’s Men.”—Laura Poitras, “Berlin Journal,” February 7, 2013 “For those who listen, the stars are singing.”—Edward Snowden Just after making it though Astro Noise, Laura Poitras’ new exhibition at the Whitney Museum of American Art (whose…

By Phil Coldiron Margaret Honda’s sudden emergence, nearly 30 years into her artistic career and two decades on from her first museum show (Recto Verso at Los Angeles MOCA), as a deeply intriguing new figure in filmmaking is anomalous in several ways. Her two films, Spectrum Reverse Spectrum (2014) and Color Correction (2015), in their…

By Adam Nayman In the waning days of 2015, public intellectuals as varied as Salman Rushdie, Bill Maher, and Kareem Abdul-Jabbar floated (or sky-hooked) the notion that Donald Trump was a “Manchurian Candidate,” despite the fact that none of them—or the many, many pundits and think-piece artists mining the same vein of pop-culture reference—could agree…

By Christoph Huber “Jason makes everything better.”—Paul Feig, quoted in Esquire’s 2015 Statham cover story It’s difficult to think that we should be grateful to Guy Ritchie for anything, but I guess he deserves credit for casting Jason Statham in his debut, Lock, Stock and Two Smoking Barrels (1998). Statham has since gone on to…

By Shelly Kraicer The violent convulsions in the Middle East and Africa and grotesque asymmetries of wealth and poverty between north and south have put fundamental pressures on wealthier, conservative, defensive societies of Europe and North America. Refugees are everyone’s problem; they represent the fulcrum around which debates on the shape of our evolving societies…

By Blake Williams Two heavily pulled quotes from Sundance 2016’s opening press conference, both spilled from the mouth of the festival’s founder and director Robert Redford—“I’m not into the Oscars,” and later, when asked what he was most looking forward to at this year’s edition, “The wrap party”—were endearingly and unexpectedly clear-eyed enough (considering the…

By Ruben Demasure At this year’s International Film Festival Rotterdam, one of the three directors who received tributes was mostly ignored. Adachi Masao and Pere Portabella were in the spotlight with much-anticipated premieres, while the first international retrospective of Claudio Caligari’s work remained in the shadows—an appropriate fate, as the margin was both Caligari’s subject…

By Matías Piñeiro Love’s reach does not to everything extend, for it cannot shake or break the stab of Death. Yet little can Death take if in a loving heart the fear of it subsides. Nor can Death much take at all, for it cannot drive its fear into the heart where Love resides. That…

By Andréa Picard L’année dernière à Marienbad (1961) is an enduring, mesmerizing modernist masterpiece. Perhaps the most powerful aspect of this Resnais/Robbe-Grillet collaboration—apart from its dapper design (including trimmed topiary) and Delphine Seyrig’s divinely breathy intonations and Chanel plumage—is its constant creation of spatial and temporal ambiguity, its perverse usurping of causal relationships between events…

By Chuck Stephens Tom Palazzolo loves a parade. The tramping of feet, a drum’s martial beat, the waving of flags, the decorative floats, the endless processions of just plain folks—the veteran Chicago filmmaker and teacher’s films have been driven by parade and pageantry and the everyday people his camera has seen and loved for most…

By Jay Kuehner The talking-head documentary, anathema to the more purposive (i.e., “show, don’t tell”) modes of nonfiction filmmaking, is revived with stubborn, prolix determination by the brood of Etruscan elders who preside over the unassuming habitat of Il Solengo. An award winner at last year’s Docslisboa, the film traces the speculative and spectral existence…