Cinema Scope Issue 64This is the complete list of articles from the print magazine issue of Cinema Scope #64. 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.


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Infinite Worlds Possible: Hong Sangsoo on Right Now, Wrong Then
Essay by Roger Koza, Interview by Francisco Ferreira & Julien Gester

Notes on Camp: An Interview with David Wain
By Adam Nayman

Necessary Means: Isiah Medina on 88:88
By Phil Coldiron


Leeching Upon the Lifeblood of the Real: Ben Rivers’ The Sky Trembles and the Earth Is Afraid and the Two Eyes Are Not Brothers
By Leo Goldsmith

Bleurghing the Unspeakable: A Stroll Through Andrzej Zulawski’s Cosmos
By Christoph Huber

Eternal Damnation: Arturo Ripstein’s Bleak Street
By José Teodoro

The Seven Observational Films of Soda Kazuhiro
By Max Nelson

Archive Fever: The Films of Pietro Marcello
By Blake Williams

Fear and Trembling in the Films of Benjamin Naishtat
By Jay Kuehner

Lines and Traces: Jenni Olson’s The Royal Road and Peter Bo Rappmund’s Topophilia
By Michael Sicinski

Secondhand Truth: The Mirrors of Rainer Werner Fassbinder
By Esther Yi


Editor’s Note

Film/Art: Chantal Akerman’s No Home Movie
By Andréa Picard

Global Discoveries on DVD
By Jonathan Rosenbaum

Exploded View: Alternative Projections
By Chuck Stephens


The Third Image: 3D Experiments at Oberhausen
By Tess Takahashi

Canadiana: The Mask
By Samuel La France



The Club by Quintín

High-Rise by Tom Charity

Magic Mike XXL by Kate Rennebohm

Queen of Earth by Jordan Cronk

Mistress America by Angelo Muredda

Web Only

Roundabouts & Entanglements: FID Marseille 2015
By Leo Goldsmith


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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 →