Cinema Scope 97 Table of Contents
Cinema Scope
by Ed
2M ago
Issue 97 contents with all the free articles linked. Includes Interviews, Features, Columns, Film/Art and more ..read more
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Issue 97 Editor’s Note
Cinema Scope
by Ed
2M ago
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
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Face the Music: Hamaguchi Ryusuke on “Evil Does Not Exist”
Cinema Scope
by Beatrice Loayza
2M ago
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
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Your Own Hall of Fame: Alex Ross Perry on “Videoheaven” and “Pavements”
Cinema Scope
by Adam Nayman
2M ago
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
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Objects of Desire: Rodrigo Moreno on “The Delinquents”
Cinema Scope
by Jordan Cronk
2M ago
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
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From the Vision to the Nail in the Coffin, and the Resurrection: Dimitris Athiridis on “exergue – on documenta 14”
Cinema Scope
by Antoine Thirion
2M ago
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
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Last of the Independents: A Roundtable on “Charley Varrick” with Veronika Franz and Severin Fiala
Cinema Scope
by Christoph Huber
2M ago
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
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Deep Cuts: The First International Women’s Film Seminar
Cinema Scope
by Erika Balsom
2M ago
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
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Open Source: Some Films by Ross Meckfessel
Cinema Scope
by Phil Coldiron
2M ago
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
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Film Tourists in Los Angeles
Cinema Scope
by Thom Andersen
2M ago
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
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