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 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 →