Bruja

Oct 16, 2017 — Polish director Agnieszka Smoczyńska talks about the myths and fairy tales that inspired her to conceive the mermaids in her debut feature, The Lure.

Oct 10, 2017 — Two singing mermaid sisters take 1980s Poland by storm in this extravagantly mounted musical-horror hybrid.

Sep 30, 2017 — “It would seem that curators have replaced bankers as the villains du jour,” writes Jörg Heiser in a piece for frieze that addresses, among other showdowns, one here in Berlin that’s just resulted in the police clearing out occupiers from...

Sep 29, 2017 — During this month’s Toronto International Film Festival, we began seeing reviews and interviews that would eventually make their way into the new issue of Cinema Scope: Adam Nayman’s conversation with Denis Côté about A Skin So Soft, for example, and...

Sep 26, 2017 — The sexual pedagogy of a masochistic music instructor takes center stage in this shocking study of art, control, and repression.

Sep 25, 2017 — Highlights from this year’s stellar Toronto International Film Festival lineup echoed a handful of classics from our collection.

Sep 24, 2017 — For the final issue in print of the Village Voice, Bilge Ebiri talks with Jonas Mekas, “the 94-year-old filmmaker, artist, critic, poet, photographer, cinema owner, and all-around underground impresario who transformed film criticism, filmmaking, and exhibition throughout the 1960s and...

Sep 17, 2017 — Michael Pearce’s debut feature, Beast, is a “multi-layered, complex account of a fatal attraction between two complicated and fragile souls, Moll (Jessie Buckley) and Pascal (Johnny Flynn),” writes Kaleem Aftab for Cineuropa. “The action takes place on Jersey, where the...

Sep 17, 2017 — “Clio Barnard is the fiercely intelligent, visually inventive and innovative film-maker who gave us the brilliant docu-hybrid The Arbor and then The Selfish Giant, an inspired interpretation of Oscar Wilde set in Bradford,” begins the Guardian’s Peter Bradshaw. “Her third...

Sep 10, 2017 — “Fear rises like gas from a corpse in Armando Iannucci’s brilliant horror-satire The Death of Stalin,” begins the Guardian’s Peter Bradshaw. “It’s a sulphurous black comedy about the backstairs Kremlin intrigue that followed the death of Joseph Stalin in 1953,...