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 81 Table of Contents

    Interviews Anything Is Possible: Josh and Benny Safdie on Uncut Gems by Adam Nayman A Concept of Reality: Sergei Loznitsa’s State Funeral by Daniel Kasman Fairytales More →

  • Anything Is Possible: Josh and Benny Safdie on Uncut Gems

    At this point, the Safdies are young masters of their own aesthetic, which was in formation at the time of Daddy Longlegs but felt more fully realized in Heaven Knows What:a roving, probing, pulsating audiovisual weave that doesn’t so much privilege pace over clarity as locate one in the other. Their movies can be exhausting, enervating, and even annoying (and Sandler, to his credit, achieves genuine annoyance in many passages here), but they’re never confusing, and the lucidity of their storytelling—which never wavers even when their characters have no earthly idea what they’re doing—has become one of contemporary American cinema’s true and distinctive marvels. More →

  • They Are All Equal Now: The Irishman’s Epic of Sadness

    Since cinema is moving toward television, and since the MCU generation is trying to actually tussle with a good fella like Martin Scorsese, and since all of this is wrapped around a cultural moment steeped in glorious contradictions, the timing of The Irishman couldn’t be more perfect. More →

  • Far from Paradise: Nina Menkes’ Queen of Diamonds

    By Erika Balsom Diamonds are sharp and hard, rich in myth and violence, soaked in desire, totally under the putrid spell of money. They are, More →

  • Garden Against the Machine: Ja’Tovia Gary’s The Giverny Document

    By Michael Sicinski Ja’Tovia Gary’s filmmaking is all to some extent grappling with the question of identity, particularly its precariousness in an often hostile world. More →