cinema-scope-issue-58This is the complete list of articles from magazine issue of Cinema Scope #58. 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.


Features

Boyhood-Richard-Linklater_104822

What is Boyhood? by Gabe Klinger

Hardbodies and Soul: The Professional Wrestler as Actor by Adam Nayman

Game Theories: Corneliu Porumboiu and the New Romanian Wake by Jordan Cronk

Paolo Sorrentino: A Medium Talent by Michael Sicinski

Man from the Southwest: The Brutish Cinema of José Campusano by Quintín

A Thousand Blind Windows: Robert Frank’s Home Movies by Samuel La France

Dreams of Light: The Cinema of Amit Dutta by Max Nelson

Sitreps: The Cinema of Johann Lurf By Daniel Kasman

The Conversation: Stephanie Barber’s DAREDEVILS By Max Goldberg

The Journeyman as Auteur: Richard Fleischer’s Fantastic Voyage by Christoph Huber

Columns

ed note

Editor’s Note

Books: James Naremore’s An Invention Without a Future by Sean Rogers

Canadiana: Copenhagen, Three Night Stand, My Prairie Home by Jason Anderson

Global Discoveries on DVD by Jonathan Rosenbaum

DVD Bonus: Ermek Shinarbaev’s Revenge by Jerry White

Film/Art: Amie Siegel’s Provenance by Andréa Picard

Exploded View: Ed Emshwiller’s Thanatopsis by Chuck Stephens

Festivals

Black Coal, Thin Ice 2

Berlin by Robert Koehler

Berlin: Black Coal, Thin Ice by Shelly Kraicer

Rotterdam by Calum Marsh

Currency

under-the-skin

The Grand Budapest Hotel by Julian Carrington

Under the Skin by Blake Williams

Night Moves by Angelo Muredda

Pompeii by Adam Cook

Follow

Friend me on FacebookFollow me on TwitterRSS Feed

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 →