WEB ONLY

The Monster Is Afraid: The Elephant Man, David Lynch By Serge Daney

Letter: On Malaysian Cinema By Pierre Rissient


INTERVIEWS

Vulgar Moralism: Paul Verhoeven’s Black Book By Robert Koehler

The Dark Horse: Robinson Devor on Zoo By Rob Nelson

and in the magazine..

A Relay Race of the Week: Bong Joon-ho’s The Host By Adam Nayman

Bullet Boy: Jason Kohn and Manda Bala (Send a Bullet) By Tom Charity


FEATURES

Killing Time: The Economical Diversity of Johnnie To By Christoph Huber

Inside/Out: A Modest Proposal Concerning William A. Wellman
By Andrew Tracy

and in the magazine..

Jacques Rivette and the Other Place: Track One By B. Kite

Phil Solomon Visits San Andreas and Escapes, Not Unscathed: Notes on Two Recent Works By Michael Sicinski


SPOTLIGHT: FESTIVAL HIGHLIGHTS

Sundance/ Berlin By Mark Peranson

Sundance: Grace Is Gone, The Savages By Scott Foundas

and in the magazine..

Rotterdam By Jason Sanders


COLUMNS

Editor’s Note

Global Discoveries on DVD By Jonathan Rosenbaum

and in the magazine..

Film/Art: Expanding Film Festivals By Andréa Picard

DVD Bonus: Idiocracy By Jessica Winter

Books Around By Olaf Möller

Canadiana: The Year in Canadian Film By Steve Gravestock


CURRENCY

The Lives of Others By Richard Porton

Belle toujours By Jay Kuehner

and in the magazine..

Flags of Our Fathers and Letters from Iwo Jima By Quintin

Zodiac By Jason Anderson


Follow

Friend me on FacebookFollow me on TwitterRSS Feed

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 →