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

Letter: On Malaysian Cinema By Pierre Rissient


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


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


Sundance/ Berlin By Mark Peranson

Sundance: Grace Is Gone, The Savages By Scott Foundas

and in the magazine..

Rotterdam By Jason Sanders


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


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


Friend me on FacebookFollow me on TwitterRSS Feed

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 →