In coming-of-age, “menstruosity” body horror films, the Final Girl is the sexual transgressor. As her sexual freedom grows, so does her monstrosity.
Over 22 years of performances, Philip Seymour Hoffman rarely disappointed. Even when he stepped outside his comfort zone to make commercial fodder, he remained riveting.
Director John Patton Ford discusses his debut feature Emily the Criminal, a critique of American society borne within the death of the American Dream.
Balancing its serious side with silliness and sincerity, queer-positive Everything Everywhere All At Once speaks to a communal determination to press forward, even when it seems the whole world is pressing back.
Just as Camille Paglia praised George Lucas’ magnum opus, Star Wars: Episode III – Revenge of the Sith, I too run the gauntlet of jeers and spitballs.
Director Daniel Roher met face-to-face with the intensely intelligent and deeply motivated Alexei Navalny and together created a film that compels global political action.
In 1997, you could call Love Jones a small, curious drama that won many critics over. Today, it stands as a cornerstone of Black narrative in cinema.
Katt Shea’s subversive 1992 erotic thriller Poison Ivy, like its teenage villainess, is misunderstood, and American media remains obsessed with devious girls.