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

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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 →