
Pantheon’s House of High-Tech Mirrors
The post-human speculative sci-fi series Pantheon asks, can humanity recognize itself in its digital reflection?

The post-human speculative sci-fi series Pantheon asks, can humanity recognize itself in its digital reflection?

The vivid depiction of motherhood in Mosquitoes echoes Marguerite Duras’ sentiment; mothers are “the strangest, craziest people we’ve ever met.”

Where Roddam’s Quadrophenia asks of British identity, “Who am I?” and Anderson’s If…. asks “Can I be myself?”, Cammell and Roeg’s Performance declares, “There is no self.”

Initially dismissed as a film for children, Misunderstood reveals some mature ideas about childhood and family and would sit better with adult audiences.


In coming-of-age, “menstruosity” body horror films, the Final Girl is the sexual transgressor. As her sexual freedom grows, so does her monstrosity.

Gary of Licorice Pizza behaves like all male characters from Paul Thomas Anderson’s gallery of sociopaths, except now the type is cast as a romantic hero.

As cool as Marlon Brando, James Dean, Jack Kerouac or Dalton Trumbo, rebel Max "Flaco" Greenbaum grows up in Watts Riots-Vietnam-draft-era L.A. Too smart (and smart-mouthed) for school, the violence of this world is drawn in deep and lingers like the long, slow, life-saving drag of a cigarette.

Ramy's representation of the Muslim-American experience, the first-generation immigrant experience, and the bilingual experience, is a necessary and welcome addition to the millennial dramedy genre.

Brady Corbet’s Vox Lux has a chaotic relationship with celebrity and carries a heavy — some might say overloaded — symbolic heft.

For a book so full of coded language, innuendoes, gossip, and rumors, Anna Burns' award-winning Milkman is perhaps really about silence.