Cinema Scope Magazine

Cinema Scope 74 Contents

By Cinema Scope / March 16, 2018

INTERVIEWS *Paul Schrader: Deliberate Boredom in the Church of Cinema. By Alex Ross Perry. Community/Theatre: A Conversation with Stephen Cone. By Blake Williams. *Whatever Happened to Lizzie Borden? By Christoph Huber. Let Art Flourish, Let the World Perish: Morgan Fisher on Another Movie. By Jordan Cronk FEATURES *“You Never Heard of Code-Switching, Motherfucker?”: Joseph Kahn’s Bodied. By…

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The Work (Jairus McLeary & Gethin Aldous, US)

By Manuela Lazic / March 16, 2018

By Manuela Lazic Early on in The Work, a documentary chronicling intense group therapy techniques practiced inside Folsom State Prison outside of Sacramento, California, a man suffers a violent meltdown. He is Brian, one of three outside visitors that directors Jairus McLeary and Gethin Aldous follow as they join inmates over a four-day course of…

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Visages villages (Agnès Varda & JR, France)

By Erika Balsom / March 16, 2018

By Erika Balsom The Normandy village of Pirou-Plage almost became a holiday destination. In 1990, property developer Pier Invest launched a plan to build a hotel, two tennis courts, and 80 vacation homes. The initiative would transform the built environment and economy of this seaside area of 1,500 inhabitants—but not as anticipated or desired. Within…

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Exploded View: Bruce Conner’s Crossroads

By Chuck Stephens / March 16, 2018

By Chuck Stephens How many names can you call Bruce Conner? Surrealist, beat, prankster, poet, illustrator, assemblagist, filmmaker, punk. Spray-paint anything you like across Conner’s legacy and someone will think it sticks. A few years ago, a big brain from Harvard hilariously decreed this slipperiest of major American filmmakers a “structuralist” (never mind the centrality…

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Canadiana | Hometown Horror: Robin Aubert’s Les affamés

By Lydia Ogwang / March 16, 2018

By Lydia Ogwang It’s an epidemic: the populist appeal of genre cinema is undeniable, even here at home. In a bit of a surprise, Robin Aubert’s Les affamés won Best Canadian Feature at the 2017 Toronto International Film Festival, and then the Temps Ø People’s Choice Award at the Festival du nouveau cinéma in Montréal.…

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Global Discoveries on DVD: A Few Peripheral Matters

By Jonathan Rosenbaum / March 16, 2018

By Jonathan Rosenbaum. Let me start by paraphrasing and slightly expanding a comment of mine appended to my 2017 ten-best list for DVD Beaver. A major reason for listing Criterion’s Othello first is that it includes the digital premieres of not one, not two, but three Orson Welles features: both of his edits of Othello…

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TV or Not TV | Chronicles of Deaths Forestalled: The Leftovers

By Kate Rennebohm / March 16, 2018

By Kate Rennebohm Televisual and serialized storytelling has long been haunted by a Scheherazadean sense of the relation between storytelling and death. Like that famous narrator’s death-defying fabrications in Arabian Nights, the longer a television show goes on, the more it reminds us that an inevitable end is coming, every new episode only forestalling this…

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Sundance 2018: What’s the Story?

By Robert Koehler / March 16, 2018

By Robert Koehler In Park City this January, all of those attending the Sundance Film Festival were told in no uncertain terms on a daily, if not hourly, basis that “the story lives in you.” The statement was right there on the cover of the catalogue, so dominant that it replaced the words—“Sundance Film Festival”—that…

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Issue 74 Editors Note: The Cinema Scope Top Ten of 2017

By Mark Peranson / March 16, 2018

The Cinema Scope Top Ten of 2017 1. Twin Peaks: The Return (David Lynch) 2. Western (Valeska Grisebach) 3. Zama (Lucrecia Martel) 4. On the Beach at Night Alone (Hong Sangsoo) 5. Phantom Thread (Paul Thomas Anderson) 6. Good Time (Josh & Benny Safdie) 7. Streetscapes [Dialogue] (Heinz Emigholz) 8. Jeannette, l’enfance de Jeanne d’Arc…

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Do It Again: On Ricky D’Ambrose’s Words and Images

By Phil Coldiron / March 16, 2018

By Phil Coldiron The quarrel between word and image is, on the eve of the third millennium of an illustrious career, in a period of relative calm, one marked by a casual cohabitation which has produced gratifying results in the arts and considerable trouble elsewhere, where it tends to be mistaken for the decay of…

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The Changing View of Man in the Portrait: Errol Morris’ Wormwood

By Lawrence Garcia / March 16, 2018

By Lawrence Garcia On November 28, 1953, Frank Olson, a civilian American scientist and Central Intelligence Agency employee, fell or jumped through a window from the 13th floor of the Hotel Statler (now the Hotel Pennsylvania) in midtown Manhattan. Thus begins Errol Morris’ plunge into the sordid, sensational CIA “mind-control” program known as MK-Ultra, with…

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“You Never Heard of Code-Switching, Motherfucker?”: Joseph Kahn’s Bodied

By Steven Shaviro / March 16, 2018

By Steven Shaviro Joseph Kahn did not much care for Damien Chazelle’s La La Land (2016). When the movie opened, he unleashed a sarcastic Twitter storm: “White people will love LA LA LAND…The dance numbers in LA LA LAND feel like Verizon commercials…99% of the couples in LA are interracial, except the one in LA…

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Whatever Happened to Lizzie Borden?

By Christoph Huber / March 16, 2018

By Christoph Huber “This fight will not end in terrorism and violence. It will not end in a nuclear holocaust. It begins in the celebration of the rites of alchemy. The transformation of shit into gold. The illumination of dark chaotic night into light. This is the time of sweet, sweet change for us all.”…

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Paul Schrader: Deliberate Boredom in the Church of Cinema

By Alex Ross Perry / March 16, 2018

By Alex Ross Perry Paul Schrader’s First Reformed is his fourth film in five years, following the reinvention-spawning masterpiece The Canyons (2013), the failed, compromised 2014 Nicolas Cage thriller Dying of the Light (recently repurposed, remixed, and reclaimed as a new film entitled Dark), and the gonzo, goofy Nicolas Cage thriller Dog Eat Dog (2016).…

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