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This is the complete list of articles from magazine issue of Cinema Scope #57. 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.


Architecture of Desire: Joanna Hogg’s Exhibition by Paul Dallas

Time and Space: Moments with Lois Patiño by Aaron Cutler

A Hand in the Eye Reaching Out into Space: Robert Beavers on Listening to the Space in My Room by Aliza Ma



Flicker Flicker Flicker Blam Pow Pow: Five Films by Jodie Mack by Phil Coldiron

An Internal Memo: Gianfranco Rosi’s Sacro GRA by Michael Sicinski

Seeing Through the Past, Again: David Rimmer’s Found-Footage Films by Samuel La France

The Great Depression: Jerry Lewis’ Last Movies by Christoph Huber

The Passage of the Idea: Alain Badiou’s Cinema by Sean Rogers


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Editor’s Note by Mark Peranson

Deaths of Cinema: Stanley Kauffmann by Andrew Tracy

Global Discoveries on DVD by Jonathan Rosenbaum

Film/Art: Mati Diop by Andréa Picard

Exploded View: Curtis Harrington by Chuck Stephens


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Hard to Be a God by Olaf Möller

Ida by Jerry White

La jalousie by Blake Williams

Mouton by Jay Kuehner

Redemption by Max Nelson

Rhymes for Young Ghouls by Adam Cook

We Are the Best! by Jason Anderson

The Wind Rises by Jordan Cronk

Why Don’t You Play in Hell? by Calum Marsh


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Inside Llewyn Davis by Adam Nayman

12 Years a Slave by Julian Carrington

Tom à la ferme by Angelo Muredda

At Berkeley by Max Goldberg


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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 →