Billy Wilder’s most savage of American comedies The Apartment, skewers corporate culture and patriarchal structures while challenging viewers to read its spills and overflows as more than just accidents.
Portland’s experimental post-rock kingpins Grails mark two decades since their debut with a new full-length retrospective LP and chat with PopMatters.
With Clics Modernos, Charly García veered away from overt political commentary in favor of taking it to the dance floor. Puzzled fans – even the album cover screamed post-modernism – didn’t hold back their outrage.
Too many bands feature rock singers that merely get the job done and not much else. Here we list ten unheralded vocalists who caught our ear and stayed there.
Despite not playing an instrument growing up, Jamma-Dee’s love of crate-digging and funk soon birthed their own colorful contribution to the genre.
The Wonder Years’ The Greatest Generation is a vulnerable document of the struggle of living with pain and suffering and the desire to overcome it through loving relationships and empathetic communities.
Irish actor Aidan Gillen talks about his lead role, and the freedom given to him to define his character, in Fintan Connolly’s Dublin-set modern noir, Barber.
In All About My Mother, Pedro Almodóvar leverages hyperreality through a camp lens to narrate a story that is as rich in theatricality as it is in the nuanced emotionality of the dream.
Pop-punk’s Fefe Dobson returns with her first new album in 13 years this Friday. She chats about Emotion Sickness and her growth as an artist.
In The Jewish Son, Daniel Guebel invokes Kafka’s “Dearest Father” to tell the story of a complicated father-son relationship.
Once Houdini dropped, all the agonizing over whether Melvins would debase themselves and compromise their sound petered out before we were halfway into “Hooch”.
A telling scene in Wojciech Has’ How to Be Loved comments on how a woman’s viewpoint must be injected into male-created art without permission.
