This is the complete list of articles from the print magazine issue of Cinema Scope #63. 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.


Features

guzman

In Dreams Begin Responsibilities: The Films of Patricio Guzmán by Max Nelson

Wild Things: The Strange Cinema of Jack Garfein by Kate Rennebohm

The Movie Chaser: Charles Willeford on Film by Sean Rogers

Joyce Wieland: Word of Mouth by Samuel La France

Implications of a Totality: Frames for the Films of Joseph Bernard by Phil Coldiron

Interviews

Cock and Bull Stories: Miguel Gomes on Arabian Nights by Mark Peranson

Digging for History: Corneliu Porumboiu on The Treasure by Adam Cook

Strip Tease: Peter Tscherkassky and The Exquisite Corpus by Daniel Kasman

Spotlight: Cannes

Cemetery-of-Splendour

Cannes 2015: My God, It’s Full of Stars! by Mark Peranson

Italians Abroad: Youth, Mia Madre, Tale of Tales, The Other Side by Celluloid Liberation Front

The Assassin by Jordan Cronk

Son of Saul by Richard Porton

Cemetery of Splendour by Kong Rithdee

Sleeping Giant by Jason Anderson

Love by Blake Williams

Columns

canada top ten atanarjuat

Editor’s Note

Canadiana: Canada’s All-Time Top Ten by Adam Nayman

Deaths of Cinema: Manoel de Oliveira by Michael Sicinski

Film/Art: Marcel Broodthaers and Albert Serra by Andréa Picard

Global Discoveries on DVD by Jonathan Rosenbaum

Exploded View: Gregory Markopoulos by Chuck Stephens

Currency

mad max

Mad Max: Fury Road by Christoph Huber

Eden by Angelo Muredda

Poet on a Business Trip by Tony Rayns

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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 →