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 82: Table of Contents

    Interviews A State of Uncertainty: Tsai Ming-liang on Days by Darren Hughes New Possible Realities: Heinz Emigholz on The Last City by Jordan Cronk This More →

  • A State of Uncertainty: Tsai Ming-liang on Days

    There’s no exact precedent for the long creative collaboration between Tsai Ming-liang and Lee Kang-sheng. In 1991, as the story goes, Tsai stepped out of a screening of a David Lynch movie and spotted Lee sitting on a motorbike outside of an arcade. More →

  • New Possible Realities: Heinz Emigholz on The Last City

    The Last City, the new film by Heinz Emigholz, begins with a confession. “And it was a straight lie when I told you that I had an image that could describe the state of my depression,” admits a middle-aged archaeologist to a weapons designer (played, respectively, by John Erdman and Jonathan Perel, who were previously seen in Emigholz's 2017 film Streetscapes [Dialogue] as a filmmaker and his analyst). “I made that up.” Part reintroduction, part recapitulation, this abrupt admission sets the conceptual coordinates for a film that, despite its presentation and the familiarity of its players, is less a continuation of that earlier work’s confessional mode of address than a creative reimagining of its talking points. More →

  • This Dream Will Be Dreamed Again: Luis López Carrasco’s El año del descubrimiento

    Luis López Carrasco’s dense, devious El año del descubrimiento confirms his reputation as Spain’s foremost audiovisual chronicler of the country’s recent past, albeit one for whom marginal positions, materiality, everyday chitchat, and the liberating effects of fiction are as, if not more, important than grand historical events. More →

  • Long Live the New Flesh: The Decade in Canadian Cinema

    Let’s get it right out of the way: by any non-subjective metric—which is to say in spite of my own personal opinion—the Canadian filmmaker of the decade is Xavier Dolan, who placed six features (including two major Competition prizewinners) at Cannes between 2009 (let’s give him a one-year head start) and 2019, all before turning 30. Prodigies are as prodigies do, and debating Dolan’s gifts as a transnational melodramatist and zeitgeist-tapperis a mug’s game, one that I’ve already played in these pages. More →