I Saw the TV Glow  (2024, Jane Schoenbrun) brings out the beauty in loneliness and alienation, while remaining sensitive and acutely aware o...

So lately there’s been this idea I’ve become completely obsessed with. It’s like there are these films that do something so innovative withi...

In  Challengers  (2024, Luca Guadagnino), through the language of cinema (which is always to say, subtext), the evolving balance of prominen...

The People’s Joker  (2022, Vera Drew) wants you to think it’s about what it takes to discover your own identity and embrace it. But the prob...

On the strength of the scene in   House of Tolerance   (2011, Bertrand Bonello) set to “Nights in White Satin” alone I am way in awe vibing ...

Remember how when  Elephant  (2003, Gus Van Sant) won the Palme d’Or film journalists had said it was inspired by the 1989 Alan Clarke BBC t...

What was it Robert Altman said about his 1992 film   The Player ? It was a soft satire or something?   If  Do Not Expect Too Much from the E...

The films of Jessica Hausner are cold petri dishes where we may observe a live specimen of romantic idealistic passions yearning for purpose...

  1.    Napoleon  (2023, Ridley Scott) 2.   The Zone of Interest  (2023, Jonathan Glazer) 3.    The Killer  (2023, David Fincher) 4.    Barb...

I didn’t know anything about Emerald Fennell before   Promising Young Woman   (2020), and I still don’t really. But I went to see   Promisin...