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

  • 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 →