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

  • 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 →