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Cinema Scope Magazine: Film reviews, criticism and interviewsArticles from the print version of Cinema Scope magazine. Interviews, Features and Columns available to read for free.Cinema Scope Magazine: Film reviews, criticism and interviews Skip to content C-Scope OnlineFrom The Mag Cinema Scope Issue 97 CS96 CS95 CS94 Browse Issues Top Ten films of 2021 The decade’s top ten 50 Best FIlmmakers Under 50 Full ArchiveTIFF Reviews TIFF 2023 TIFF 2022 TIFF 2021 TIFF 2020 TIFF 2019 TIFF 2018 Full TIFF ArchiveAdvertisingContact Jump to content Current Issue Instant Download CS Online Cinema Scope Magazine This is the archive of hundreds of articles selected from the print version of Cinema Scope magazine. Cinema Scope 97 Table of Contents By Ed | CS97,  From Cinema Scope Magazine,  Table of Contents Issue 97 contents with all the free articles linked. Includes Interviews, Features, Columns, Film/Art and more. Read More → Issue 97 Editor’s Note By Ed | Columns,  CS97,  From Cinema Scope Magazine I feel like I’ve explained enough in this space over the last year, so that announcing this is the final issue of Cinema Scope is in no way surprising. But let me reiterate that the time has long passed to envision a way of making this magazine sustainable financially without begging for money, or sustainable emotionally without driving me to a premature death... Read More → Face the Music: Hamaguchi Ryusuke on “Evil Does Not Exist” By Beatrice Loayza | CS97,  From Cinema Scope Magazine,  Interviews Hamaguchi Ryusuke’s sublime eco-fable, Evil Does Not Exist,begins and ends with the plangent score by Ishibashi Eiko, played fortissimo over an extended tracking shot facing skywards. A forest canopy, stark and stripped of its foliage by winter’s spell, appears like latticework through which daylight passes with an eerie vibrancy. Read More → Your Own Hall of Fame: Alex Ross Perry on “Videoheaven” and “Pavements” By Adam Nayman | CS97,  From Cinema Scope Magazine,  Interviews Two movies, both alike in indignity, in the ’90s, where we lay our scene. Because neither Videoheaven nor Pavements—both putatively non-fictional pop-culture essay films written and directed by Alex Ross Perry—have officially been released, programmed at a festival, or even announced via trailers or posters, it’s tricky to write about their intricacies, either as standalone works or in conversation with one another. Read More → Objects of Desire: Rodrigo Moreno on “The Delinquents” By Jordan Cronk | CS97,  From Cinema Scope Magazine,  Interviews Until recently a somewhat forgotten figure of the New Argentine Cinema, director Rodrigo Moreno has, with The Delinquents, asserted himself as perhaps that movement’s most underestimated talent. Read More → From the Vision to the Nail in the Coffin, and the Resurrection: Dimitris Athiridis on “exergue – on documenta 14” By Antoine Thirion | CS97,  From Cinema Scope Magazine,  Interviews As the supervisory board is currently tasked with restructuring the documenta selection process, the fear is that the freedom traditionally granted to the exhibition’s artistic direction will be drastically constrained in order to prevent any new national “scandal” the likes of which occurred around documenta 15 in 2022. Read More → Last of the Independents: A Roundtable on “Charley Varrick” with Veronika Franz and Severin Fiala By Christoph Huber | CS97,  Features,  From Cinema Scope Magazine Don Siegel’s superior crime picture Charley Varrick (1973) was supposed to be called Last of the Independents, but that title was nixed by Universal honcho Lew Wasserman. This probably gives even more credence to the subversive, stick-it-to-the-system notion nestled inside this tale of a crop-duster pilot who has resorted to small-scale robbery for a living because he can no longer compete against the capitalist monopoly in his legal job.  Read More → Deep Cuts: The First International Women’s Film Seminar By Erika Balsom | CS97,  Features,  From Cinema Scope Magazine Lately it feels like everywhere I look obscure old films are being dusted off and presented to eager publics. Even a right-wing newspaper like London’s Telegraph had cause last November to speak of a “repertory boom” in the city where I live, deeming it “the year’s most unlikely media trend.” Their idea of what this looks like is a bit different than mine; not everyone is “suddenly” lining up to see Kind Hearts and Coronets (1949). Read More → Open Source: Some Films by Ross Meckfessel By Phil Coldiron | CS97,  Features,  From Cinema Scope Magazine It requires relatively little mental strain to imagine a world in which all that can be photographed has been; it requires, I think, considerably more to imagine one in which every possible photograph has been made. I find that both of these little thought experiments imply comic narratives—that is, to borrow a definition, ones which resolve in favour of their protagonists. And who might these protagonists be?  Read More → Film Tourists in Los Angeles By Thom Andersen | CS97,  Features,  From Cinema Scope Magazine The directors who did the most to make Los Angeles a character in movies and then a subject were outsiders, like Wim Wenders and Billy Wilder, or tourists, like Antonioni. They weren’t interested in what made Los Angeles like a city; they were interested in what made Los Angeles unlike the cities they knew. Read More → Out of Time: The Videos of Tulapop Saenjaroen By Jesse Cumming | Columns,  CS97,  Film - Art,  From Cinema Scope Magazine Few contemporary artists feel as attuned to late capitalism—and its insidious means of extracting both our time and resources—as Saenjaroen, whose works offer means of escape from or refutation of these forces. Read More → The Sense of the Past: Terence Davies (1945–2023) By Lawrence Garcia | Columns,  CS97,  Deaths of Cinema,  From Cinema Scope Magazine To describe a film as being “about memory” is almost as cliché as to say that it is “about time.” Few subjects are thought to be more suited to a temporal medium defined by its mechanical recording apparatus. Yet the films of the late Terence Davies are to my mind the rare works actually deserving of such a description. Read More → The World in Focus: Vincent Grenier (1948-2023) By Michael Sicinski | Columns,  CS97,  Deaths of Cinema,  From Cinema Scope Magazine While I would never compare the end of a magazine’s run with the end of a person’s life, there is a painful appropriateness to the fact that I am eulogizing my friend, filmmaker Vincent Grenier, in the final issue of Cinema Scope. Grenier’s work represents a tactile, phenomenological cinema that is not very popular with current tastemakers. Read More → Dead Slow Ahead: On Joe Pera By Kate Rennebohm | Columns,  CS97,  From Cinema Scope Magazine,  TV,  TV or not TV Enter Joe Pera, the comedian, actor, director, writer, and producer whose self-financed, self-produced, and self-released comedy special, Joe Pera: Slow & Steady, dropped on his YouTube channel in early October. Read More → Global Discoveries on DVD: Now or Never By Jonathan Rosenbaum | Columns,  CS97,  DVD Reviews,  From Cinema Scope Magazine In what will likely be my last column in these pages, I’ve mainly tried to highlight releases and films that I’ve been meaning yet failing to watch for ages, following the assumption that it’s now or never. As most of my examples make clear, this avoidance has something to do with the unhealthiness or pessimism these films tend to leak from every pore. Read More → Pale Shibboleth: Will Hindle’s “Chinese Firedrill”  By Chuck Stephens | Columns,  CS97,  Exploded View,  From Cinema Scope Magazine The greatest film ever made that you’ve in all likelihood never seen, Will Hindle’s 1968 short masterwork Chinese Firedrill is a rarely screened, never-digitized chamber piece/psychodrama about memory, consciousness, involution, set design, comic/cosmic performance, and the inscrutable experiments and sublime experiences of photo-chemical cinema as it was just a little over half a century ago. Read More → The Killer (David Fincher, US) By Adam Piron | CS97,  Currency,  From Cinema Scope Magazine Clocking in at a clean 47 seconds, the title sequence in The Killer sets something like a metronome for David Fincher’s latest effort. Read More → Killers of the Flower Moon (Martin Scorsese, US) By Robert Koehler | CS97,  Currency,  From Cinema Scope Magazine The extreme thoroughness, subtlety, and thought invested in this project indicate that, as Scorsese moves into his Joe Biden years, he has evolved into a more nuanced, more complex film artist.  Read More → Menus-Plaisirs – Les Troisgros (Frederick Wiseman, US) By Jay Kuehner | CS97,  Currency,  From Cinema Scope Magazine Given the stylistic consistency yet markedly disparate subject matter of his vast oeuvre to date, it is curious to consider what, if anything, constituted the precedent for his latest film, Menus-Plaisirs – Les Troisgros, a typically protracted look at an historically family-run restaurant near Lyon. Read More → Poor Things (Yorgos Lanthimos, US/UK/Ireland)  By Deragh Campbell | CS97,  Currency,  From Cinema Scope Magazine ...the premise of Poor Things—both in Alasdair Gray’s novel and the screenplay adapted by Tony McNamara—arrives as a potentially poignant advancement of Frankenstein’s Monster. Read More → The Practice (Martín Rejtman, Argentina/Chile/Germany/Portugal) By Haden Guest | CS97,  Currency,  From Cinema Scope Magazine The latest film by Martín Rejtman reaffirms his singular place in Argentine and world cinema as one of the rare non-mainstream auteurs working today, with brio and invention, in the realm of comedy. Read More → Priscilla (Sofia Coppola, US)  By Ed | CS97,  Currency The aesthetic appeal of Sofia Coppola’s work—baby pink and pastel colours, girly make-up and cute clothes, soft lighting and trippy music—belies a deeper understanding of the condition of teenage girls, her favourite subject. For the filmmaker, these formal elements aren’t just their surface, but their very substance—the Lisbon sisters’ pink bedrooms in The Virgin Suicides (1999) are part and parcel of their identities. Read More → Support CS Online Instant Download Editor’s Note By Mark Peranson Read More → TIFF 2023 | 100 Yards (Xu Haofeng, Xu Junfeng, China) — Centrepiece By Shelly Kraicer Read More → TIFF 2023 | A Happy Day (Hisham Zaman, Norway/Denmark) — Centrepiece By Gabrielle Marceau Read More → TIFF 2023 | A Normal Family (Hur Jin-ho, South Korea) — Gala Presentations By Michael Sicinski Read More → TIFF 2023 | A Road to a Village (Nabin Subba, Nepal) — Centrepiece By Winnie Wang Read More → TIFF 2023 | Achilles (Farhad Delaram, Iran/Germany/France) — Discovery By Angelo Muredda Read More → TIFF 2023 | After the Fire (Mehdi Fikri, France) — Discovery By Lawrence Garcia Read More → TIFF 2023 | American Fiction (Cord Jefferson, US) — Special Presentations By Adam Nayman Read More → TIFF 2023 | Anatomy of a Fall (Justine Triet, France) — Special Presentations By Aurelie Godet Read More → TIFF 2023 | Backspot (D.W. Waterson, Canada) — Discovery By Angelo Muredda Read More → TIFF 2023 | Banel & Adama (Ramata-Toulaye Sy, France/Senegal/Mali) — Centerpiece By Madeleine Wall Read More → TIFF 2023 | The Beast (Bertrand Bonello, France/Canada) — Special Presentations By Jordan Cronk Read More → Cinema Scope on Twitter Cinema Scope on Facebook Contact Us Toronto International Film Festival 2023 Read our free coverage of this year's festival. You can also use the main menu above to see previous year's coverage. Editor’s Note Cinema Scope Online,  From Cinema Scope Magazine,  TIFF 2023 Read More → TIFF 2023 | 100 Yards (Xu Haofeng, Xu Junfeng, China) — Centrepiece Cinema Scope Online,  TIFF 2023 Read More → TIFF 2023 | A Happy Day (Hisham Zaman, Norway/Denmark) — Centrepiece Cinema Scope Online,  TIFF 2023 Read More → TIFF 2023 | A Normal Family (Hur Jin-ho, South Korea) — Gala Presentations Cinema Scope Online,  TIFF 2023 Read More → TIFF 2023 | A Road to a Village (Nabin Subba, Nepal) — Centrepiece Cinema Scope Online,  TIFF 2023 Read More → TIFF 2023 | Achilles (Farhad Delaram, Iran/Germany/France) — Discovery Cinema Scope Online,  TIFF 2023 Read More → TIFF 2023 | After the Fire (Mehdi Fikri, France) — Discovery Cinema Scope Online,  TIFF 2023 Read More → TIFF 2023 | American Fiction (Cord Jefferson, US) — Special Presentations Cinema Scope Online,  TIFF 2023 Read More → TIFF 2023 | Anatomy of a Fall (Justine Triet, France) — Special Presentations Cinema Scope Online,  CS95,  TIFF 2023 Read More → TIFF 2023 | Backspot (D.W. Waterson, Canada) — Discovery Cinema Scope Online,  TIFF 2023 Read More → TIFF 2023 | Banel & Adama (Ramata-Toulaye Sy, France/Senegal/Mali) — Centerpiece Cinema Scope Online,  TIFF 2023 Read More → TIFF 2023 | The Beast (Bertrand Bonello, France/Canada) — Special Presentations Cinema Scope Online,  TIFF 2023 Read More → TIFF 2023 | Boil Alert (James Burns, Stevie Salas, Canada) — TIFF Docs Cinema Scope Online,  TIFF 2023 Read More → TIFF 2023 | Bouquets 31-40 (Rose Lowder, France) — Wavelengths  Cinema Scope Online,  Columns,  CS96,  From Cinema Scope Magazine,  TIFF 2023 Read More → TIFF 2023 | The Boy and the Heron (Hayao Miyazaki, Japan) — Gala Presentations Cinema Scope Online,  TIFF 2023 Read More → TIFF 2023 | The Breaking Ice (Anthony Chen, China) — Centrepiece Cinema Scope Online,  TIFF 2023 Read More → TIFF 2023 | Chantal Akerman: Her First Look Behind the Camera (Chantal Akerman, Belgium) — Wavelengths Cinema Scope Online,  CS96,  Features,  From Cinema Scope Magazine,  TIFF 2023 Read More → TIFF 2023 | La Chimera (Alice Rohrwacher, Italy/France/Switzerland) — Special Presentations Cinema Scope Online,  TIFF 2023 Read More → TIFF 2023 | Chuck Chuck Baby (Janis Pugh, UK) — Centrepiece Cinema Scope Online,  TIFF 2023 Read More → TIFF 2023 | Close Your Eyes (Víctor Erice, Spain) — Centrepiece Cinema Scope Online,  CS95,  TIFF 2023 Read More → TIFF 2023 | Daughters of Fire (Pedro Costa, Portugal) — Wavelengths Cinema Scope Online,  CS95,  TIFF 2023 Read More → TIFF 2023 | Days of Happiness (Chloé Robichaud, Canada) — Special Presentations Cinema Scope Online,  TIFF 2023 Read More → TIFF 2023 | Dear Jassi (Tarsem Singh Dhandwar, India) — Platform Cinema Scope Online,  TIFF 2023 Read More → TIFF 2023 | The Dead Don’t Hurt (Viggo Mortensen, Canada/Mexico/Denmark) — Special Presentations Cinema Scope Online,  TIFF 2023 Read More → 1 2 3 … 5 Next » Load Full TIFF Coverage Cinema Scope on Twitter Cinema Scope on Facebook Contact Us Subscribe Instant Download CS Online Features Last of the Independents: A Roundtable on “Charley Varrick” with Veronika Franz and Severin Fiala By Christoph Huber | CS97,  Features,  From Cinema Scope Magazine Read More → Deep Cuts: The First International Women’s Film Seminar By Erika Balsom | CS97,  Features,  From Cinema Scope Magazine Read More → Open Source: Some Films by Ross Meckfessel By Phil Coldiron | CS97,  Features,  From Cinema Scope Magazine Read More → Film Tourists in Los Angeles By Thom Andersen | CS97,  Features,  From Cinema Scope Magazine Read More → TIFF 2023 | Chantal Akerman: Her First Look Behind the Camera (Chantal Akerman, Belgium) — Wavelengths By Kate Rennebohm | Cinema Scope Online,  CS96,  Features,  From Cinema Scope Magazine,  TIFF 2023 Read More → Back to Zero: The Experimental Cinema of Jean Eustache By Michael Sicinski | CS95,  Features,  From Cinema Scope Magazine Read More → Interviews Face the Music: Hamaguchi Ryusuke on “Evil Does Not Exist” By Beatrice Loayza | CS97,  From Cinema Scope Magazine,  Interviews Read More → Your Own Hall of Fame: Alex Ross Perry on “Videoheaven” and “Pavements” By Adam Nayman | CS97,  From Cinema Scope Magazine,  Interviews Read More → Objects of Desire: Rodrigo Moreno on “The Delinquents” By Jordan Cronk | CS97,  From Cinema Scope Magazine,  Interviews Read More → From the Vision to the Nail in the Coffin, and the Resurrection: Dimitris Athiridis on “exergue – on documenta 14” By Antoine Thirion | CS97,  From Cinema Scope Magazine,  Interviews Read More → TIFF 2023 | Do Not Expect Too Much from the End of the World (Radu Jude, Romania/Luxembourg/France/Croatia) — Wavelengths  By Jordan Cronk | Cinema Scope Online,  CS96,  From Cinema Scope Magazine,  Interviews,  TIFF 2023 Read More → TIFF 2023 | Pictures of Ghosts (Kleber Mendonça Filho, Brazil) — Wavelengths By Tom Charity | Cinema Scope Online,  CS96,  From Cinema Scope Magazine,  Interviews,  TIFF 2023 Read More → Festivals The Dream’s Dream: Lisandro Alonso on “Eureka” By Dennis Lim | CS95,  Festivals,  From Cinema Scope Magazine,  Interviews,  Spotlight Read More → Close Your Eyes (Víctor Erice, Spain) By Lawrence Garcia | CS95,  Festivals,  From Cinema Scope Magazine Read More → Anatomie d’un chute (Justine Triet, France) By Aurelie Godet | CS95,  Festivals,  From Cinema Scope Magazine,  Spotlight Read More → Inside the Yellow Cocoon Shell (Pham Thien An, Vietnam/Singapore/France/Spain) By Robert Koehler | CS95,  Festivals,  From Cinema Scope Magazine,  Spotlight Read More → The Girl and Her Trust: Sean Price Williams on “The Sweet East”  By Adam Nayman | CS95,  Festivals,  From Cinema Scope Magazine,  Interviews,  Spotlight Read More → Festivals | Berlin: Claire Simon’s Notre corps By Beatrice Loayza | CS94,  Festivals,  From Cinema Scope Magazine Read More → Columns Issue 97 Editor’s Note By Ed | Columns,  CS97,  From Cinema Scope Magazine Read More → Out of Time: The Videos of Tulapop Saenjaroen By Jesse Cumming | Columns,  CS97,  Film - Art,  From Cinema Scope Magazine Read More → The Sense of the Past: Terence Davies (1945–2023) By Lawrence Garcia | Columns,  CS97,  Deaths of Cinema,  From Cinema Scope Magazine Read More → The World in Focus: Vincent Grenier (1948-2023) By Michael Sicinski | Columns,  CS97,  Deaths of Cinema,  From Cinema Scope Magazine Read More → Dead Slow Ahead: On Joe Pera By Kate Rennebohm | Columns,  CS97,  From Cinema Scope Magazine,  TV,  TV or not TV Read More → Global Discoveries on DVD: Now or Never By Jonathan Rosenbaum | Columns,  CS97,  DVD Reviews,  From Cinema Scope Magazine Read More → Instant Download Current Issue Cinema Scope on Twitter Cinema Scope on Facebook Contact Us About Cinema Scope Cinema Scope has been published since 1999 with articles on world cinema. The magazine has compiled a list of the top 10 films of each year. Mark Peranson, the magazine's editor, was awarded the Clyde Gilmour Award by the Toronto Film Critics Association in 2009 © 2023 Cinema Scope. All Rights Reserved. Web design by Adrian Kinloch Scroll To Topenusen-US1729218441https://cinema-scope.com

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