2018 Impressions
2018 is nearly over. Kinoscope had a good year, a big year. I had the great fortune and honor of...
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A One-of-a-Kind Portrait Artist: The Films of Martín Farina
Talent Press, a section of Talents Buenos Aires, is a theoretical and practical program created...
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Marcel Pagnol: The People Person from Provence
What happened to Marcel Pagnol? The work of his peers are better known to cinephiles today; the...
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Life as It Is: A Conversation with Carlos Reygadas
It’s a drab, late-October afternoon in Bucharest. Local journalists and critics have been ushered...
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The Spaces That Inhabit Us: Shireen Seno on Nervous Translation
Philippines-based filmmaker and artist Shireen Seno recently debuted her second feature Nervous...
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A Life One Does Not Dare to Live: The Cinema of Jorge Acha
Jorge Luis Acha is, in the words of Roger Koza, “one of the greatest secrets of Argentinian...
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Creative Companionship: An Interview with Pascal Greggory
Pascal Greggory has been acting in French cinema and theater since 1975, with André Téchiné’s The...
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Puffed-Up Politics: Experimenta at the 2018 BFI London Film Festival
At this year’s BFI London Film Festival, Alfonso Cuarón’s Roma (2018), Mike Leigh’s Peterloo...
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Not My Style: Orson Welles’ “The Other Side of the Wind”
There are scholars who have devoted their lives to discovering autobiography in Welles’ films, and...
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Dust to Dust: Frederick Wiseman’s “Monrovia, Indiana”
Frederick Wiseman goes west — the Midwest that is. In a career that spans over 50 years, the...
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Appalachian Taboo: Joseph L. Anderson’s “Spring Night, Summer Night”
The character of backwoods America seems only the province of amateurs, unknowns, and...
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The Return to the Origins of Experience: Mariano Llinás’ “La Flor”
The Return to the Origins of Experience: Mariano Llinás’ “La Flor” Eddy Baez Talent Press, a...
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