Interviews

*The New Workout Plan: Denis Côté’s Ta peau si lisse  by Adam Nayman

Denis Côté’s Ta peau si lisse by Adam Nayman

*Inner and Outer Space: Wang Bing Talks About Mrs. Fang by Daniel Kasman and Christopher Small

*The Land of Terrible Legends: Narimane Mari on Le fort des fous by Jordan Cronk

Add It Up: Valérie Massadian on Milla by Andréa Picard

The Movie Orgy: Sammy Harkham on Blood of the Virgin by Sean Rogers

Features

*Ahead of Its Reflection: Ben Russell’s Good Luck by Phil Coldiron

All Tomorrow’s Féeries: An Introduction to Pierre Léon by Boris Nelepo

*Those You Call Mutants: The Films of Lucrecia Martel by Blake Williams

*Ephraim Asili’s Immeasurable Equations by Jesse Cumming

Our Hitlers: Hans-Jürgen Syberberg and the Roots of the Alt-Right by Jerry White

Columns

*Editor’s Note*Editor’s Note

Deaths of CinemaA Brief History of the Mad PeopleGeorge A. Romero, 1940-2017 by Christoph Huber

*Film/ArtMeet the Restacks: Dani Leventhal and Sheilah Wilson on Strangely Ordinary

This Devotion by Michael Sicinski

TV or Not TVA Little Night Music – Twin Peaks: The Return, Part 8 by Kate Rennebohm

Books: Laurel Fantauzzo’s The First Impulse by Tony Rayns

*DVD Bonus: Capital, CityThree Films by Lino Brocka by Lawrence Garcia

*Global Discoveries on DVD by Jonathan Rosenbaum

Canadiana: Once You’re Here, It’s Hard to LeaveThe New Nova Scotia Cinema by Josh Cabrita

*Exploded View: Bill Viola’s I Do Not Know What It Is I Am Like by Chuck Stephens

Currency

*Did You Wonder Who Fired the Gun? by Celluloid Liberation Front

The Beguiled by Chelsea Phillips-Carr

*Ex Libris—The New York Public Library by Tom Charity

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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 →