William Oldroyd and Thomasin McKenzie discuss sympathising with a young woman caught between fantasy and reality in the adaptation of Ottessa Moshfegh’s Eileen.
Most of the comedies in Laurel & Hardy: Year One starred others, so this set shows the evolution of the dual film by film, getting better as they go along.
Scarface implies that under capitalism, “getting high on your own supply” is inevitable, as the system is based on the exploitation of dissatisfaction.
Adam Driver’s chameleon-like transformations put him in the rarified company of American male performers who can metamorphose their inner and outer selves.
The Piano is a ’90s-era postmodern stew of sensuality and death, realism and fantasy, stories within stories, feminism and psychology, and postcolonial imagery.
Days of Heaven questions modernity and neoliberalism while simultaneously critiquing the Agrarian Myth, Manifest Destiny, and the Myth of the Noble Savage.
Alfred Hitchcock’s The Lady Vanishes depicts a variety of cultural deaths as they were happening. No small feat for a light comedy with sex-farce undertones.
You can read David Fincher’s The Killer as a story about a murderer, or you can see it as the satire of our pathetic little existence that it really is.
Tony Kaye’s 1998 crime film American History X connect today’s Neo-Nazi hatred back to poisons long carried by Americans, dating back to the country’s original sin of slavery.
In monocle and leather boots, waving a whip, and fetishizing his character into a camp masterpiece, Erich von Stroheim never winks in Foolish Wives, but you see the glint in his eye.