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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 →

  • Gag Orders: The Trial of the Chicago 7 and Judas and the Black Messiah

    Bobby Seale makes a cameo of sorts midway through Judas and the Black Messiah, as Martin Sheen’s porcine J. Edgar Hoover—checking in personally on the progress of the FBI’s campaign against Chicago Black Panther Party chairman Fred Hampton (Daniel Kaluuya)—is shown an artist’s sketch of the BPP’s national chairman gagged and shackled in the courtroom during the Chicago Conspiracy Trial. This revolting spectacle understandably serves as the mid-film dramatic highpoint of The Trial of the Chicago 7, when the repeated, suitably indignant demands by Seale (Yahya Abdul-Mateen II) to serve as his own defense counsel in the absence of his hospitalized lawyer—and presiding judge Julius Hoffman’s (Frank Langella) incredible refusal to grant this right, instead directing that Seale’s defense should be undertaken by the representatives for the other defendants—ultimately lead to him being bodily removed from the courtroom by marshals and returned in chains. That image of a defiant Black man, forcibly silenced and immobilized in a hall of American justice, became one of William Burroughs’ “frozen moment[s] at the end of the newspaper fork,” when everyone—including those who would applaud it—can see what they’re being fed. More →

  • Sound of Metal (Darius Marder, US)

    Entering Riz Ahmed in the disability cosplay sweepstakes as a young drummer coping with hearing loss, Darius Marder’s Sound of Metal originated as a lightly meta vehicle for husband-and-wife sludge-metal duo Jucifer to be directed by Derek Cianfrance, with whom Marder co-wrote The Place Beyond the Pines (2012). That the final result is more surprising than the rote uplift narrative suggested by its edifying logline is a testament to both Ahmed’s cagey intensity... 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 →