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.

Cinema Scope 52 Preview The Master (Paul Thomas Anderson, USA)—Special Presentation By Gabe Klinger The evolution in Paul Thomas Anderson’s oeuvre towards impeccably researched, stunningly visualized mythological explorations of the American character in There Will Be Blood (2007) and The Master represents a sterling 180-degree turn. Staying within a certain autobiographical comfort zone in his…