This is the complete list of articles from Cinema Scope issue 51.

* Articles available online


*Get Out of the Car: David Cronenberg’s Cosmopolis  by José Teodoro and Adam Nayman

*Eight Footnotes On a Brief Description of Footnotes to a House of Love, and Other Films by Laida Lertxundi by Phil Coldiron

Holy Terror: Robert Bresson (Re-viewed) by Andrew Tracy

*This Is Not an Omnibus: The Jeonju Digital Project 2012 by Michael Sicinski


Fast Company: David Cronenberg in Toronto by Adam Nayman

*Terror Incognita: Julia Loktev on The Loneliest Planet by Jay Kuehner

Eternal Moment: A Record of Péter Forgács by Aaron Cutler

Passer’s Way: A Master Class with Ivan Passer by Olivier Père

 Spotlight: Cannes 2012

*Cannes 2012: The Forecast Calls for Pain by Mark Peranson

*Holy Motors by Dennis Lim 

*Amour by Christoph Huber

*Post Tenebras Lux by Tom Charity

Like Someone in Love by Richard Porton

La noche de enfrente by Boris Nelepo

*The Cheshire Cat Quinzaine by Robert Koehler


*Editor’s Note

Books Around by Olaf Möller

*Film/Art: Beware of the Jollibee: A Correspondence with Lav Diaz by Andréa Picard

*Global Discoveries on DVD by Jonathan Rosenbaum

DVD Bonus

A Hollis Frampton Odyssey by Tom McCormack

Deaths of Cinema: Amos Vogel by John Gianvito

*Exploded View by Chuck Stephens


*Moonrise Kingdom by John Semley

*Compliance by Adam Nayman

Room 237 by Quintín


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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 →