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 Issue 86 Table of Contents

    The Cinema Scope Top Ten of 2020 Interviews The Girl and the Spider *En plein air: Denis Côté on Hygiène sociale by Jordan Cronk *The More →

  • The Cinema Scope Top Ten of 2020

    1. Days (Tsai Ming-liang) 2. The Works and Days (of Tayoko Shiojiri in the Shiotani Basin) (C.W. Winter and Anders Edström) 3. The Year of More →

  • The Primacy of Perception: Ramon & Silvan Zürcher on The Girl and the Spider

    Near the midpoint of The Girl and the Spider—Ramon and Silvan Zürcher’s overdue, much anticipated follow-up to their masterful debut feature, The Strange Little Cat (2013)—a character launches into another of the Zürcher brothers’ distinctive anecdotal monologues. Mara (Henriette Confurius), who is as close as this film gets to a protagonist, describes for her neighbour, Kerstin (Dagna Litzenberger-Vinet), an incident that occurred the previous day between herself and her newly ex-roommate (and perhaps ex-girlfriend) Lisa (Liliane Amuat). “I was in my room while Lisa was on the toilet,” she recounts. “She asked me to bring her a roll of toilet paper. Instead of giving it to her, I walked past the door from left to right, from Lisa’s point of view.” The image cuts to the scene while she recalls it, privileging us with a more objective account of the incident: a fixed shot showing Mara stand up from her desk, grab a package of toilet paper, and march past the door, her arms outstretched like a zombie. More →

  • Exploded View: Steina & Woody Vasulka

    Icelandic filmmaker Hrafnhildur Gunnarsdóttir’s extraordinarily warming 2019 documentary The Vasulka Effect, about the protean Euro-hippies and rightfully dubbed “grandparents of video art,” Steina and Woody Vasulka, was exactly the movie I needed to see this winter. Awash in Nordic echoes even as it confronts the modern realities of art-gallery politics and the history of America’s visual-arts fringes, it’s a mythical origin story that’s actually true, all about ancient heroes and ravaging time. More →

  • Canadiana | Reading Aids: The Good Woman of Sichuan and Ste. Anne

    When navigating the as-yet-unknown films of a festival program, nationality still provides a persuasive point of reference for some, a feeling underlined by the proud declarations issued by national funding organizations, promotional bodies, or particularly partisan members of the press once titles have been announced. This year’s reduced Berlinale Forum lineup also invites tenuous lines of this kind to be drawn (two films from Argentina, two films from Canada!), although the three Franco-German co-productions shot elsewhere say far more about how films are made in 2021. More →