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

  • 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 →