Interviews and Features

Electroshock Therapy: Matthew Rankin on The Tesla World Light by Jason Anderson

Quiet Savagery: A Tale of Two Tourneurs by Christoph Huber

All You Can Eat: The Heroism of Howard Hughes by Adam Nayman

Censoring Shakespeare: Ing K’s Shakespeare Must Die by Nathan Letoré

Would You Like to See a Magic Trick?: Basma Alsharif’s Ouroboros and its Contexts by Phil Coldiron

A Passage Through: Filipa César’s Spell Reel  by Jesse Cumming

Dusting the Corners: Luke Fowler’s Restorative Histories by Michael Sicinski

Rossellini’s War Trilogy: Neorealism or Historical Revisionism? by Celluloid Liberation Front

Spotlight: Cannes 2017

Cannes at 70: Bad Times, Good Time by Mark Peranson

Web Extra: An Element of Danger: Josh and Benny Safdie on Good Time by Dan Sullivan

The Square by Josh Cabrita

The Day After / Claire’s Camera  by Andréa Picard

At the Frontier: Valeska Grisebach on Western by James Lattimer

Closeness by Daniel Kasman

24 Frames by Blake Williams

Deserting the Real: Documentaries at Cannes by Richard Porton

Jeannette, l’enfance de Jeanne d’Arc by Jordan Cronk

Un beau soleil intérieur by Giovanni Marchini Camia

Columns

Editor’s Note

Festivals

The Nitrate Picture Show by Alicia Fletcher and Samuel La France

TV or Not TV

Twin Peaks: The Return by Kate Rennebohm

Global Discoveries on DVD by Jonathan Rosenbaum

DVD Bonus: Fat City and Hard Times by Sean Rogers

Exploded View: Peter Gidal’s Room (Double Take) by Chuck Stephens

Currency

Baby Driver by Robert Koehler

Araby by Jay Kuehner

Maison du bonheur by Angelo Muredda

Risk by Steve Macfarlane

Web Extra: Sandy Wexler by Adam Nayman

Follow

Friend me on FacebookFollow me on TwitterRSS Feed

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 →