This the full table of contents from Cinema Scope Magazine #65. We post selected articles from each issue on the site which you can read for free using the links below. This is only possible with support from our subscribers, so please consider a subscription to the magazine, or  the instant digital download version. 


Interviews

Two Years at Sea: An Interview With Mauro Herce
By Jay Kuehner

Punch-Drunk Love: Josh Mond’s James White
By Adam Nayman (Subscribe)

Body Politic: Gabriel Mascaro on Neon Bull
By José Teodoro

Features

hurt-steve-fonyo-tiff15

Failure Hasn’t Spoiled Him Yet: Alan Zweig Succeeds in Spite of Himself
By Jason Anderson

Live in Black and White: Stan Douglas’ Helen Lawrence
By Michael Vass (Subscribe)

Landscape Suicide: The Films of Daïchi Saïto
By Jordan Cronk

Želimir Žilnik: Not Reconciled
By Celluloid Liberation Front (Subscribe)

Mother of All of Us: Ida Lupino, The Filmaker
By Christoph Huber

Columns

Editor’s Note

Deaths of Cinema: La Ressasseuse: Chantal Akerman, 1950–2015
By Kate Rennebohm

Global Discoveries on DVD
By Jonathan Rosenbaum

Film/Art: Ali Cherri
By Andréa Picard (Subscribe)

Exploded View: Peter Mays’ Death of the Gorilla
By Chuck Stephens

Spotlight: Fall Festival Highlights

chevalier

Chevalier by Samuel La France

Trois souvenirs de ma jeunesse by Max Nelson (Subscribe)

Blood of My Blood by Blake Williams

Homeland (Year Zero) by Steve Macfarlane (Subscribe)

The Waiting Room / How Heavy This Hammer by Sean Rogers (Subscribe)

Kaili Blues by Shelly Kraicer

Office by Daniel Kasman (Subscribe)

Happy Hour by Michael Sicinski

Currency

Carol by Phil Coldiron

Anomalisa by Richard Porton (Subscribe)

Bridge of Spies by Adam Nayman (Subscribe)

The Visit by Adam Cook (Subscribe)

Room by Angelo Muredda

Web Only

from afar

From Afar by Quintín

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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 →