cinema-scope-issue-61This is the complete list of articles from the print magazine issue of Cinema Scope #61. 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.



Who Can Tell of the Heroic Deeds of Israel?: Nadav Lapid’s The Kindergarten Teacher by Jay Kuehner

Don’t Look Back: Life and Death and the Films of Mary Helena Clark by Phil Coldiron

The Face of Another: Christian Petzold’s Phoenix by Adam Nayman

Special Delivery: Andrei Konchalovsky’s The Postman’s White Nights by Boris Nelepo

The Language of Flint: Sergei Parajanov’s The Color of Pomegranates by Max Nelson

Dead Meat: Bruno Dumont’s P’tit Quinquin by Michael Sicinski

Of Human Bondage: Peter Strickland on The Duke of Burgundy by José Teodoro


heaven knows what

A Pigeon Sat on a Branch Reflecting on Existence by Jason Anderson

Pasolini by Celluloid Liberation Front

Clouds of Sils Maria by Andrew Tracy

Heaven Knows What by Sean Rogers

The Iron Ministry by Jordan Cronk

Episode of the Sea by Daniel Kasman

Letters to Max by Leo Goldsmith

Burying the Ex by Christoph Huber


kuchar copy

Editor’s Note

Canadiana: Alexandre Larose by Samuel La France

Film/Art: Carlos Amorales by Andréa Picard

Global Discoveries on DVD by Jonathan Rosenbaum

Exploded View: The George Kuchar Reader by Chuck Stephens



Inherent Vice by Blake Williams

Force Majeure by Angelo Muredda

American Sniper by Michael Sicinski

The Babadook by Adam Nayman

71 by Jerry White

Dumb and Dumber To by Adam Cook


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From the Magazine

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  • 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

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  • 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 →