All Your Sad Kingdoms: Portuguese Films “Serpentarius” and “Past Perfect” at the Berlinale
The colonial project has long been about controlling land to bleed its resources. Much recent...
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Twice What You Get from Daily Life: The (Meta-)Cinema of Edward Yang
Edward Yang was one of the greatest directors of the late 20th century — a filmmaker who, along...
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Into the Unknown: Hong Sang-soo’s “Hotel by the River”
There are several telling signs that Hotel by the River (2018) is a film by Hong Sang-soo: subdued...
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Dog Days: Bettina Perut and Iván Osnovikoff’s “Los Reyes”
Trying to depict animals respectfully is extremely difficult. It’s far easier to go for cute...
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Videograms of a Revolution: Jean-Luc Godard’s “The Image Book”
The Image Book (2018) begins with a simple declaration: “The world’s masters should be weary of...
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On a Higher Level: An Interview with Brennan Vance
Brennan Vance’s The Missing Sun (2017) is an exciting, daring debut, part psychedelic...
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Documenting the Soul: On Three Films by Jürgen Böttcher
Screening as part of 2019’s edition of the London Short Film Festival amongst a wider program of...
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Top Five Shorts of 2018
Compiled by Laurence Boyce Given that the world of short film often defines itself as one that is...
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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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