Director Léa Mysius on ‘The Five Devils’ Aromatic Mystery
Director Léa Mysius talks with PopMatters about her sophomore feature The Five Devils, a nuanced exploration of the primitive senses.
Director Léa Mysius talks with PopMatters about her sophomore feature The Five Devils, a nuanced exploration of the primitive senses.
Frank Borzage, king of silent film melodrama, shows how it’s done with Back Pay‘s tale of redemption and the James Oliver Curwood-inspired The Valley of Silent Men.
In its first season, The Waltons addressed—and took a stand against—sexism, anti-Semitism, religious fanaticism, book burning, xenophobia, and intolerance, and it conveyed the importance of environmental consciousness.
Succession, HBO’s most lauded release of the decade solidifies its place as one of TV’s best dramas, even though it shares nothing positive about our capitalist world.
Jayne Mansfield’s dramatic performance in the John Steinbeck-adapted drama The Wayward Bus disproves the notion that she was only capable of playing a “dumb blonde”.
The characters’ prospects in the upcoming TV adaptation of Naomi Alderman’s The Power are dubious, considering it’s an idea-driven dystopian novel that fries them with an over-abundance of imagery and biblical allusion.
Like pride before a fall, the psychological drama God’s Creatures critiques the sentimentality of blood and the tribal mindset of loyalty above conscience.
French true crime adaptation The Night of the 12th (La nuit du 12) is a response to the fraught relationship between men and women, and the detective as metaphor.
Michael B. Jordan’s directorial debut Creed III escapes the shadow of Apollo, Rocky, and Drago and finds new ground for Donnie and the Creed spin-off series to build their own legacy.
Juleen Compton’s little-known ’60s films, Truffaut-effected Stranded and Mekas’-affirming The Plastic Dome of Norma Jean, have been lovingly restored thanks to her work ethic in a completely different field.
Kevin James’ “average Joe” working-class sitcom characters play to a type well supported by the American patriarchy. Valerie James’ revenge comedy Kevin Can F**k Himself attempts to bury that dated format.
Ireland-set dramas The Quiet Girl and The Banshees of Inisherin share character types that suffer similar neglect yet tragically divergent fates.