This is the complete list of articles from magazine issue of Cinema Scope issue 52. We post selected articles from each issue on the site. For the complete content please subscribe to the magazine, or consider the instant digital download version.

* Articles available online

Features

*Blood and Thunder: Enter the Leviathan by Phil Coldiron

*Role Models: The Films of Matías Piñeiro by Quintín

The Angry Odyssey: Robert Aldrich’s Last Gleaming by Christoph Huber

*Burru’s Abominable Dialectic: Nicolas Rey’s autrement, la Molussie by Michael Sicinski

Interviews

*Lost in the Moment: Peter Mettler on The End of Time by Jason Anderson

Unexpected Textures: A Conversation Between Nicolás Pereda and Kazik Radwanski Moderated by Christopher Heron

*Wandering in Vienna: Jem Cohen and the Adventure of Museum Hours by Robert Koehler

*Golden Girls: Sean Baker’s Starlet by Adam Nayman

Anything But Cinephilia: A Public Conversation with Leos Carax by Olivier Père

Return to Form: An Interview with Jerome Hiler by Max Goldberg

Columns

*Editor’s Note

Film/Art: Luther Price by Andréa Picard

*DVD Bonus: Margaret by Robert Koehler

*Global Discoveries on DVD by Jonathan Rosenbaum

Books Around by Olaf Möller

Books Extra: Claude Lanzmann by Jerry White

*Exploded View: Paul Sharits by Chuck Stephens

Currency

*The Master by Gabe Klinger

*Rebelle by Kiva Reardon

*Après mai by Andrew Tracy

Somebody Up There Likes Me by John Semley

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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 →