Interviews

Sightsurf and Brainwave: Blake Williams’ PROTOTYPE by Michael Sicinski

In the Shadow of the Magic Kingdom: Sean Baker on The Florida Project by Adam Cook

Giving Credibility to the Universe: Hélène Cattet and Bruno Forzani on Laissez bronzer les cadavres by Christoph Huber

Features

The Uses of Disenchantment: Guillermo del Toro’s The Shape of Water by Adam Nayman

The Limits of Control: Lucien Castaing-Taylor & Véréna Paravel’s Caniba by Samuel La France

For Future History: Barbet Schroeder’s Trilogy of Evil by Steve Macfarlane

The Ties that Bind: On Recent Work by Laura Huertas Millán by Jesse Cumming

Sohrab Shahid Saless: Enter the Void by Christopher Small

Revisiting Marco Ferreri: The Veterinarian of Wo\Mankind by Celluloid Liberation Front

Spotlight: Fall Festival Highlights

3/4 by Jordan Cronk

Cocote by Jay Kuehner

Dragonfly Eyes by Shelly Kraicer

Foxtrot by Michael Sicinski

The Green Fog by Lawrence Garcia

Madame Hyde by Blake Williams

The Wandering Soap Opera by James Lattimer

Columns

Editor’s Note by Mark Peranson

Film/Art

Just Another Notion: Mike Henderson, A Painter Who Makes Films by Phil Coldiron

Books

Hollywood, Read: Slow Writing: Thom Andersen on Cinema by Sean Rogers

TV or Not TV

Psycho Killer, qu’est-ce que c’est? David Fincher’s Mindhunter by Neil Bahadur

Global Discoveries on DVD by Jonathan Rosenbaum

Canadiana

They Are What They Are: Future//Present Shorts by Josh Cabrita

Exploded View: Stan Brakhage’s Metaphors on Vision by Chuck Stephens

Currency

Phantom Thread by Robert Koehler

Three Billboards Outside Ebbing, Missouri by Angelo Muredda

Dawson City: Frozen Time by Alicia Fletcher

Blade Runner 2049 by Jason Anderson

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From the Magazine

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  • 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

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  • 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 →