Cinema Scope Magazine Issue 68This the full table of contents from Cinema Scope Magazine #68. 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. 

Note: Articles marked * are in our TIFF Reviews section.


Features & Interviews

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*The Rules of the Game: Paul Verhoeven’s Elle by Adam Nayman

*Saying Something: The Films of Angela Schanelec by Blake Williams

*The Wanderer: Eduardo Williams’ The Human Surge by Leo Goldsmith

Weapon of Flesh: Shiota Akihiko’s Wet Woman in the Wind and the Return of Roman Porno by Christoph Huber

The Hills Have Eyes: Pat O’Neill’s Where the Chocolate Mountains by Jordan Cronk

*Sehnsucht: Ruth Beckermann on The Dreamed Ones by Andréa Picard

Gaining Ground: It’s After the End of the World, Don’t You Know That Yet? by Chris Fujiwara

Productions of Space: Films by the desperate optimists by Kate Rennebohm

Dangerous Woman: Gilda and Hollywood Burlesque by Alicia Fletcher

No Two-Legged Creature: Orson Welles’ Falstaff by Samuel La France

Columns

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Editor’s Note

TV or Not TV
There Will Be Blood: Steven Soderbergh’s The Knick by Sean Rogers

Deaths of Cinema
What the Water Said: Peter Hutton (1944-2016) by Michael Sicinski

Deaths of Cinema
Before and After the Revolution: Abbas Kiarostami (1940-2016) by Quintín

Film/Art
Farewell to Storyville: John Akomfrah’s New Essays by Phil Coldiron

Festivals

Locarno (I): Challenges by Jay Kuehner

Locarno (II): Correspondences by Jerry White

Books

Shared Life: Éric Rohmer: A Biography by Christopher Small

Global Discoveries on DVD: Awards and Extras by Jonathan Rosenbaum

Exploded View

Malcolm Le Grice’s Berlin Horse

Malcolm Le Grice’s Berlin Horse by Chuck Stephens

Currency

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*Nocturama by Blake Williams

*Snowden by Robert Koehler

*L’avenir by Adam Nayman

*Daughters of the Dust by Steve Macfarlane

 

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From the Magazine

  • Issue 84 Table of Contents

    INTERVIEWS *The Act of Living: GianfrancThe Act of Living: Gianfranco Rosi on Notturnoo Rosi on Notturno By Mark Peranson*Reconstructing Violence: Nicolás Pereda on Fauna By More →

  • The Act of Living: Gianfranco Rosi on Notturno

    “The night scares me so much,” confesses a courageous Yazidi pre-teen girl to a therapist, remembering the period when she and her younger sister were captured by ISIS. Anyone who was seen crying would be killed, they were told; it turned out to be a vacant threat, but the sisters were still beaten, and now they are attempting to exorcise their memories by drawing pictures of them. Does it help? We never find out. More →

  • Reconstructing Violence: Nicolás Pereda on Fauna

    There’s a point in nearly every Nicolás Pereda film when the narrative is either reoriented or upended in some way. In the past this has occurred through bifurcations in story structure or via ruptures along a given film’s docufiction fault line. Pereda’s ninth feature, Fauna, extends this tradition, though its means of execution and conceptual ramifications represent something new for the 38-year-old Mexican-Canadian filmmaker. More →

  • I Lost It at the Movies: Charlie Kaufman’s Antkind and I’m Thinking of Ending Things

    “It’s all planned, but it isn’t thought out,” wrote Pauline Kael in her review of A Woman Under the Influence (1974), a nifty bit of critical jiu-jitsu turning John Cassavetes’ much-theorized—and, during Kael’s reign at The New Yorker, much-derided—technique of spontaneous improvisation within a dramatic framework against him. More →

  • Open Ticket: The Long, Strange Trip of Ulrike Ottinger

    One of the most surprising things about Ulrike Ottinger’s new documentary Paris Calligrammes is how accessible it is. Some cinephiles may be familiar with Ottinger based on an 11-year period of mostly fictional productions that were adjacent to the New German Cinema but, for various reasons, were never entirely subsumed within that rubric. Others are quite possibly more aware of her later work in documentary, in particular her commitment to a radical form of experimental ethnographic cinema. More →