FEATURES

The Play for Tomorrow: Steve McQueen’s Small Axe by Michael Sicinski

The Crowd is Dead, Long Live the Crowd! by Erika Balsom

All the Fountains of the Great Deep: Artavazd Pelechian’s La Nature by Phil Coldiron

Minority Report: Armond White Wants to Make Spielberg Great Again by Adam Nayman

F for Fake: Mank by Andrew Tracy

Minimalist Maximalism: The Hilarious Horror of Don Hertzfeldt’s World of Tomorrow by Christoph Huber

I Thought I Was Seeing Palestinians: On Kamal Aljafari by Kaleem Hawa

The Limbs of Satan: A Century of Flappers on Film by Alicia Fletcher

Juliet Berto, où êtes vous? by Steve Macfarlane

FALL FESTIVAL SPOTLIGHT

Beginning by Lawrence Garcia

The Calming by Courtney Duckworth

City Hall by Josh Cabrita

Genus Pan by Jesse Cumming

Her Socialist Smile by Jordan Cronk

Inconvenient Indian and Trickster by Gabrielle Marceau

There Are Not Thirty-Six Ways of Showing a Man Getting on a Horse by Devika Girish

COLUMNS

Editor’s Note by Mark Peranson

Film/Art | Slow Reading by Haden Guest

Books | Auditorium of the Head: JG Ballard in (and on) Cinema by Celluloid Liberation Front

Global Discoveries on DVD by Jonathan Rosenbaum

Exploded View | Michael Snow’s Cover to Cover by Chuck Stephens

CURRENCY

Nomadland by Robert Koehler

Hillbilly Elegy by Darren Hughes

Another Round by Angelo Muredda

Borat Subsequent Moviefilm: Delivery of Prodigious Bribe to American Regime for Make Benefit Once Glorious Nation of Kazakhstan by Brendan Boyle

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From the Magazine

  • Cinema Scope Issue 86 Table of Contents

    The Cinema Scope Top Ten of 2020 Interviews The Girl and the Spider *En plein air: Denis Côté on Hygiène sociale by Jordan Cronk *The More →

  • The Cinema Scope Top Ten of 2020

    1. Days (Tsai Ming-liang) 2. The Works and Days (of Tayoko Shiojiri in the Shiotani Basin) (C.W. Winter and Anders Edström) 3. The Year of More →

  • The Primacy of Perception: Ramon & Silvan Zürcher on The Girl and the Spider

    Near the midpoint of The Girl and the Spider—Ramon and Silvan Zürcher’s overdue, much anticipated follow-up to their masterful debut feature, The Strange Little Cat (2013)—a character launches into another of the Zürcher brothers’ distinctive anecdotal monologues. Mara (Henriette Confurius), who is as close as this film gets to a protagonist, describes for her neighbour, Kerstin (Dagna Litzenberger-Vinet), an incident that occurred the previous day between herself and her newly ex-roommate (and perhaps ex-girlfriend) Lisa (Liliane Amuat). “I was in my room while Lisa was on the toilet,” she recounts. “She asked me to bring her a roll of toilet paper. Instead of giving it to her, I walked past the door from left to right, from Lisa’s point of view.” The image cuts to the scene while she recalls it, privileging us with a more objective account of the incident: a fixed shot showing Mara stand up from her desk, grab a package of toilet paper, and march past the door, her arms outstretched like a zombie. More →

  • Exploded View: Steina & Woody Vasulka

    Icelandic filmmaker Hrafnhildur Gunnarsdóttir’s extraordinarily warming 2019 documentary The Vasulka Effect, about the protean Euro-hippies and rightfully dubbed “grandparents of video art,” Steina and Woody Vasulka, was exactly the movie I needed to see this winter. Awash in Nordic echoes even as it confronts the modern realities of art-gallery politics and the history of America’s visual-arts fringes, it’s a mythical origin story that’s actually true, all about ancient heroes and ravaging time. More →

  • Canadiana | Reading Aids: The Good Woman of Sichuan and Ste. Anne

    When navigating the as-yet-unknown films of a festival program, nationality still provides a persuasive point of reference for some, a feeling underlined by the proud declarations issued by national funding organizations, promotional bodies, or particularly partisan members of the press once titles have been announced. This year’s reduced Berlinale Forum lineup also invites tenuous lines of this kind to be drawn (two films from Argentina, two films from Canada!), although the three Franco-German co-productions shot elsewhere say far more about how films are made in 2021. More →