Martin Eden, Faust, and Hamlet: An Interview with Pietro Marcello
As is often the way of these things, I didn’t quite fall in love with Martin Eden until a year had...
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The Ghosts That Lie in Our Art: Raúl Ruiz and Valeria Sarmiento’s “Tango of the Widower and Its Distorting Mirror”
Nine years after his passing, what was supposed to be Raúl Ruiz’s debut film has been recovered...
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You’d Be Great as Jesus: Orson Welles’ “Hopper/Welles”
It was 1970, and Orson Welles was filming The Other Side of the Wind, which gestated for years...
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PAULINE CHALAMET Stars in Exclusive, Global KINOSCOPE Release of Emma Doxiadi’s Remotely Made I’M FINE!
KINOSCOPE is thrilled to announce a free, exclusive streaming release of Emma Doxiadi’s recent...
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IndieLisboa: Time Warp
Lisbon is a city with a history of resilience. So, it was hardly a surprise when IndieLisboa...
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Moment to Moment: The Short Films of Jacqueline Lentzou
Jacqueline Lentzou’s cinematic universe is one of subtle beauty and complex poetry. Dense with...
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Firm and Faulty Beliefs: Ra’anan Alexandrowicz’s “The Viewing Booth”
From climate change and Brexit, to disagreements about how to tackle the Covid-19 pandemic, the...
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Keep Quiet: Praveen Morchhale’s “Widow Of Silence”
Praveen Morchhale’s Widow of Silence is a war film that leaves the gunshots and battles offscreen,...
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Tripping into Nature: An Interview with Daniel & Clara
The British filmmakers Daniel and Clara say they’ve discarded their nationality, surnames, and...
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Watching in the Time of Quarantine: Jason Ooi and the Long Distance Film Festival
The Long Distance Film Festival has risen to the demands of our current environment, where...
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Lost Dreams: Stephen Broomer’s “Phantom Ride”
Named after a genre of cinema popular towards the end of the 1890s, in which a cameraman was...
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La Semaine de la Critique of Festival de Cannes
KINOSCOPE is thrilled to announce a partnership with the Cannes Film Festival, La Semaine de la...
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