cinema-scope-issue-62This is the complete list of articles from the print magazine issue of Cinema Scope #62. 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

The-Forbidden-Room-Guy-Maddin

Lost in the Funhouse: A Conversation with Guy Maddin and Evan Johnson on The Forbidden Room and Other Stories by Mark Peranson

In the Bedroom: Rodney Ascher’s The Nightmare by Adam Nayman

Circumnavigating Cinema: Kidlat Tahimik’s Balikbayan #1 Memories of Overdevelopment Redux III by Adam Cook and Daniel Kasman

FEATURES

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A Perfect Game: Kevin Jerome Everson’s Park Lanes by Michael Sicinski

Blackhat, White Noise: Michael Mann’s System of Objects by Andrew Tracy

That Sinking Feeling: Seeing Things in Don’t Look Now by José Teodoro

Blind, With a Gun: The Irrepressible Anarchy of Jean-Patrick Manchette by Christoph Huber

Time Regained: The Cinema of Nils Malmros by Jordan Cronk

Dancing on the Edge: Derek Jarman’s Will You Dance With Me? by Max Nelson

Of Time and the River: Mapping the Cinema of Luo Li by Shelly Kraicer

The Funniest Joke in the World: On Rick Alverson’s Entertainment by Phil Coldiron

FESTIVALS

Sundance by Blake Williams

COLUMNS

adieu au langage

Editor’s Note: Top Ten Films of 2014

Film/Art: Les Photos d’Alix (Cléo Roubaud) by Andréa Picard

Global Discoveries on DVD by Jonathan Rosenbaum

DVD Bonus: Sauve qui peut (la vie) by Jerry White

Books: Criterion Designs by Sean Rogers

Exploded View: Kenneth Anger’s Puce Moment by Chuck Stephens

CURRENCY

it follows

It Follows by Jason Anderson

White God by Samuel La France

Wild Tales by Quintín

WEB EXTRA

Timbuktu by Angelo Muredda

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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 →