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Cinema ScopeCinema Scope

Cinema Scope Issue 71 - Summer 2017

With unparalleled depth and breadth, Cinema Scope is one of the most respected English-language publications on film worldwide. Cinema Scope unites experienced critics from across North America with up-and-coming writers. Packed with reviews, essays, festival reports, and interviews, we’re geared to cinephiles looking for an intelligent forum on world cinema. “Advocates for a passionate, poltical and purist engagement with the movies”—The New York Times

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access_time3 min.
editor’s note

Listen guys, I’m as tired of writing about Cannes as you are reading me on it, but c’est la guerre. Some people have it in their heads that I’m entering this annual game primed for self-one-upmanship, but that’s not the case; if anything, I usually set the bar too high. This year, I went into the 70th anniversary of the esteemed festival with no expectations at all, so I was a lot less disappointed than many of my fellow attendees seem to have been—although two weeks later, perhaps due to art overload, I’m having trouble even recalling most of what...

access_time15 min.
electroshock therapy

International devotees of Canuck pop-cultural arcana may pride themselves on knowing every single line that Drake ever uttered on Degrassi: The Next Generation, but there’s another treasure that Canadians thus far have been able to keep for themselves. These are the Heritage Minutes, a series of government-made, bilingual 60-second shorts for television and movie screens that bring history to life, provided that you like your history with earnest actors in period garb doing their utmost to wrest all due patriotism and pathos from exposition-laden dialogue and stirring scenes of national triumphs and cataclysms. (The Maple Leafs’ first Stanley Cup win...

access_time18 min.
quiet savagery

Anne of the Indies “Motion pictures an art? They can never be!” —Maurice Tourneur, A Protest, published in Kine Weekly, January 1, 1924 “Nothing is more evanescent than an image in celluloid...” —Jacques Tourneur, interviewed shortly before his death in 1977 Two of America’s finest filmmakers were born in France. They also happened to be father and son. Maurice and Jacques Tourneur (henceforth addressed on a first-name basis for easier reading) claim a unique place in cinema. No other parent-child director combo of interest (say, Richard and Gerd Oswald) is of similar importance to date, depending on how the career of Aleksey German,...

access_time8 min.
all you can eat

In Warren Beatty’s Rules Don’t Apply (2016), Frank Forbes (Alden Ehrenreich) walks by the water at 3:00 a.m. to talk business with Howard Hughes (Beatty), who’s taken on the ambitious young real-estate speculator as a driver in his West Coast operation. After strolling the length of the pier, the pair winds up at a picnic table that’s been set up with a wee-hours buffet: cheeseburgers a la carte. (Hughes’ hunger is a running joke in Rules Don’t Apply: it’s a good bet that no other film in history contains as many references to banana-nut ice cream, the procurement of which...

access_time11 min.
censoring shakespeare

While Ing K certainly makes for an easier pronunciation than Ing Kanjanavanit, the name of the Thai-born, British-raised filmmaker has thus far not made a dent in the consciousness of Western cinephiles. That may hopefully change thanks to a retrospective at Paris’ Cinéma du Réel curated by Nicole Brenez, who has been a champion of Ing’s work since Shakespeare Must Die (2012), an adaptation of Macbeth that became a cause célèbre when it was banned by the Thai government. Needless to say, expectations were high among those in attendance at the Paris screenings, which makes it all the more curious...

access_time13 min.
would you like to see a magic trick?

“À quiconque a perdu ce qui ne se retrouve Jamais, jamais!” —Charles Baudelaire On a clear day in the spring of this year, having fallen under the geometric spell of an exhibition of new work by the photographer Sara Cwynar, a young woman found herself on the wrong uptown train and was left to troop some number of blocks on foot in less time than she might have preferred. She arrived at the theatre in quite a state and, lulled, one imagines, by its robust air conditioning, slept through what she had come for: a lecture entitled Doppelgänger, presented by the...