cinema-scope-magazine-60-coverThis is the complete list of articles from the print magazine issue of Cinema Scope #60. 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 free online are linked below.


INTERVIEWS

PrincessofFrance

L’avventura: Pedro Costa on Horse Money by Mark Peranson

Quest for Happiness: A Conversation with Peter von Bagh by Boris Nelepo and Celluloid Liberation Front

Beautiful Games: Matías Piñeiro on The Princess of France by Andrew Tracy

Pacifico’s Heights: Simone Rapisarda Casanova on The Creation of Meaning by Jason Anderson


FEATURES

twin peaks copy

No Protection: When John Ford Went to War by Christoph Huber

Philosophical Toys: Thom Andersen’s Antecinema by Phil Coldiron

The Noise Made By People: The Films of Martín Rejtman by Max Nelson

Going for Baroque: The Films of Eugène Green by Blake Williams

City to City 2014 and Beyond: TIFF’s Uneven Seoul Patch by Michael Sicinski

Imaginary Love: Xavier Dolan’s Mommy by Adam Nayman

Voices Off: The Films and Videos of John Smith by Samuel La France

A Place Beyond the Pines: Twin Peaks: Fire Walk With Me, the Missing Pieces, and the Legacy of Brutality by Jordan Cronk


COLUMNS

wavelength

Editor’s Note

Film/Art | Harun Farocki’s Inextinguishable Fire by Andréa Picard

Global Discoveries on DVD by Jonathan Rosenbaum

Exploded View | Michael Snow’s Wavelength by Chuck Stephens


CURRENCY

20000 days
The Captive by Adam Nayman

20,000 Days on Earth by Angelo Muredda

Eastern Boys by Tom Charity

The Expendables 3 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 →