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.
Director Christian Sparkes and actors Clayne Crawford and Alix West Lefler discuss the mystery The King Tide during its World Premiere at TIFF 2023.
Films like The First Year play a crucial role in how nations negotiate and re-negotiate their self-image, and its reemergence is yet another step forward for post-Pinochet Chile.
We are seeking essays for our Autumn 2023 All Things Reconsidered film series. These essays analyze and contextualize classic movies in history.
The claustrophobic atmosphere in biographical crime drama In the Name of the Father creates a world where evil actions are made more remorseless by the silence surrounding them.
Hays Code era Lady for a Night links black American characters with upstart so-called “white trash” to expose corruption and “zombie” hypocrisy from the so-called “quality class”.
There are two Lenny Bruces: 1. the real-life subject of thoughtful documentaries and biographies, and 2. the TV/movie hip mentor and accidental deity.
Barbie and Oppenheimer recall times when a product changed the world by introducing something new that threatened – or promised – sameness. The resulting Barbenheimer is the meme change of all memes.
In this excerpt from The Media Swirl, Carol Vernallis peers through the glitter of the stunning party scene in Baz Luhrmann’s The Great Gatsby and exams its sparkling layers of meaning.