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Shaved Jews and Philosemitic Fantasy: On 'Jud Süss' and 'Das alte Desetz'

The fascist mind, always limited by parochial sentimentality, fears art because it fears any hint of ambiguity.

Film

'Colette' Upends the Biopic's Stodgy Maleness

Although Wash Westmoreland's Colette is a tale of becoming, its titular star is impressively self-contained from the start.

Film

The Fog of the Interstitial: Existential Disaffection in Alea's 'Memories of Underdevelopment'

In Tomás Gutiérrez Alea's film the protagonist is an inhabitant too estranged from his country to belong, a tourist too familiar with his environment to experience the passing joy of surprise.

Film

Becoming the Latin Lover: Rudolph Valentino Collection, Vols. 1 and 2

Flicker Alley collects works from one of Hollywood's most glamorous stars -- and one of its most glamorous casualties -- Rudolph Valentino.

Film

Where Black Girls Are Seen and Heard: 'The Hate U Give'

The Hate U Give director George Tillman Jr. and actors Amandla Stenberg and Russell Hornsby discuss the film's cultural impact with PopMatters.

Film

TIFF 2018: 'Greta'

Neil Jordan's latest thriller, Greta, doesn't make sense -- but it's a wild ride.

Film

On Susan Seidelman's Film of Aimless Desire, 'Smithereens'

The experiences you have in NYC are not the best experiences to be had, the sex you have is not the best sex, the friends you make are not the best of all possible friends—but they ought to be.

Film

TIFF 2018: 'Vox Lux'

Brady Corbet's Vox Lux is a horror movie about the link between hedonism and explosive violence in the 21st century. Don't let anyone tell you differently.

Film

TIFF 2018: Papi Chulo

Papi Chulo's heart is in the right place. The problem is, from the Latino perspective, the "friendship" in this story could be the basis of a horror movie.

Film

TIFF 2018: Teen Spirit

Max Minghella's first feature film, Teen Spirit, has two really good music videos -- and some confused ideas about mentorship.

Film

NYFF 2018: 'Diamantino' Beautifully Satirizes Ugly Politics from the Ethers

Diamantino's astounding surrealistic introduction soon unfolds into an ethereal genre-mashup.

Film

'What Price Hollywood?' and the Birth of the 'Star Is Born' Films

The A Star is Born films have been born, re-born, and born again for almost a century, making them part of America's cultural fabric. Here's a look at how it all started.

Film

The Un-Disneyfied Family: Director Jeremiah Zagar on 'We the Animals'

Staying true to its source and to everyday life as a messy reality, We The Animals is the antithesis of the Disneyfied family narrative.

Film

Formulaic 'A Star Is Born' Doesn't Hit Many High Notes

A Star Is Born traffics in the sort of superficial emotion that fades faster than the ringing in your ears after a concert.

Film

Ethan Hawke's Gaze in 'Blaze' Foley Biography Is Quite Clear

Blaze is the sort of film that takes the piss out of the legend, showing a life that's sadder for the wasted talent and what could have been.

Film

Pop Ten

Say It Loud! 100 Great Protest Songs: Part 1 - Beethoven to Janis Ian

Shaved Jews and Philosemitic Fantasy: On 'Jud Süss' and 'Das alte Desetz'

The 100 Greatest Alternative Singles of the '80s: Part 1: 100 - 81

Smoking Popes on Faith, Politics, and Judy Garland

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Mixed Media

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The fascist mind, always limited by parochial sentimentality, fears art because it fears any hint of ambiguity.

Although Wash Westmoreland's Colette is a tale of becoming, its titular star is impressively self-contained from the start.

Shannon Purser discusses her debut role in film, Sierra Burgess Is a Loser, catfishing, and the unrealistic expectations imposed on today's youth.

In Tomás Gutiérrez Alea's film the protagonist is an inhabitant too estranged from his country to belong, a tourist too familiar with his environment to experience the passing joy of surprise.

Flicker Alley collects works from one of Hollywood's most glamorous stars -- and one of its most glamorous casualties -- Rudolph Valentino.

The Hate U Give director George Tillman Jr. and actors Amandla Stenberg and Russell Hornsby discuss the film's cultural impact with PopMatters.

Neil Jordan's latest thriller, Greta, doesn't make sense -- but it's a wild ride.

The experiences you have in NYC are not the best experiences to be had, the sex you have is not the best sex, the friends you make are not the best of all possible friends—but they ought to be.

Brady Corbet's Vox Lux is a horror movie about the link between hedonism and explosive violence in the 21st century. Don't let anyone tell you differently.

Papi Chulo's heart is in the right place. The problem is, from the Latino perspective, the "friendship" in this story could be the basis of a horror movie.

Max Minghella's first feature film, Teen Spirit, has two really good music videos -- and some confused ideas about mentorship.

Diamantino's astounding surrealistic introduction soon unfolds into an ethereal genre-mashup.

The A Star is Born films have been born, re-born, and born again for almost a century, making them part of America's cultural fabric. Here's a look at how it all started.

Staying true to its source and to everyday life as a messy reality, We The Animals is the antithesis of the Disneyfied family narrative.

A Star Is Born traffics in the sort of superficial emotion that fades faster than the ringing in your ears after a concert.

Blaze is the sort of film that takes the piss out of the legend, showing a life that's sadder for the wasted talent and what could have been.