Beyoncé's Black Is King's reliance on Afrofuturism recuperates the film from Disney's clutches while reclaiming Black excellence.
There's a song performed in James Whale's musical, Show Boat, wherein race is revealed as a set of variegated and contradictory performances, signals to others, a manner of being seen and a manner of remaining hidden, and it isn't "Old Man River".
Anna Kerrigan talks with PopMatters about her latest film, Cowboys, which deviates from the common "issues style" approach to LGBTQ characters.
Alain Corneau's Série Noire is like a documentary of squalid desperation, albeit a slightly heightened and sardonic one.
Alice Winocour talks with PopMatters about conveying the long process of separation between mother and daughter in her film, Proxima.
The first female-centric film in the MCU, Captain Marvel, bakes the female experience into every aspect, making a potentially familiar story fresh and exciting.
In Scorsese's hands, the voice-over is less a substitute for what we are not shown but instead becomes a vital thread woven into the fabric of the film's meaning.
The wealthy, spoiled, entitled, monstrously egotistical male protagonist in Visconti's L'Innocente spends his time in various states of suffering, often sweating profusely and sometimes with eyes puffy and tear-stained.
Éric Rohmer isn't interested in a pure critique of misogyny; his moral tales are mere observations on how we use other people to serve our interests and how we invent narratives from our relationships through which we define ourselves.
Lugosi films Murders in the Rue Morgue, The Black Cat, and The Raven give more than a head-rolling nod to the master of poetic horror, Poe.
Bruce Lee's fight scenes evoke Gestalt theory: actual perception is a response to a provocation. Consider this philosophy while watching the films in Bruce Lee: His Greatest Hits and you too can become the water.
In her excellent film, First Cow, Kelly Reichardt explores the effects of colonial land theft and capitalism through the medium of food.
In Dave Franco and Joe Swanberg's hipster horror flick The Rental, the looming threat surrounding a vacationing foursome feels less crucial than the lies they tell each other.
In Satoshi Kon's 1997 masterpiece, Perfect Blue, former J-Pop idol Mima Kirigoe's crisis of identity echoes our current 'epidemic' of loneliness -- upsetting the boundary between private and public agency, the desire to hide and the compulsion to be seen.
Like Aaron Sorkin, the veteran rock band U2 has been making ambitious, iconic art for decades—art that can be soaring but occasionally self-important. Sorkin and U2's work draws parallels in comfort and struggle.
Hollywood is increasing Black representation but Damon Lindelof and Jordan Peele challenge audiences to question the authenticity of this system.