We move through life among strangers whom we try to make less strange by identifying repetitive behaviors as identity. At some point, we might even say we "know" a person. Lynch's Lost Highway shows that we don't know anything about each other.
Although Hitchcock left Great Britain for the United States in 1939, his first two films -- Rebecca (1940) and Suspicion (1941) -- nonetheless remained set firmly in English culture. His depictions helped craft perceptions of English life for decades to come.
While Alfred Hitchcock is famous for the humor that he injected into his thrillers, there are striking differences in the humor between his British and American periods.
In Day Two of our Director Spotlight series on the Master of Suspense, we revisit the four strongest films of Alfred Hitchcock’s British period.
Loony anti-colonialist Brazilian satire Bacurau doesn't always balance its humor with its bite, but its communitarian soul, oddball wit, and dark vision of the future still hits home.
Michael Anderson's Dominique hones in on an atmosphere richly dripping with nouveau gothic dread.
Ad Astra has the astronomical humanism of Interstellar mixed with the morose nihilism of Apocalypse Now, fueled by a booster rocket of daddy issues.
At its better moments, James Gray and Dan Bradley's Ad Astra brings forth larger themes beyond the usual space action-thriller.
Nigel Kneale's book and screenplay, which Hammer Films made into Quatermass and the Pit, raises many provocative questions regarding the nature of human evolution and the conception of the devil itself.
Followed on a foggy night, a menacing voice on the telephone, trapped in an elevator... Doris Day's Kit Preston verges on a nervous breakdown in Midnight Lace.
Less polished than Netflix's usual fare, Sujoy Ghosh's new haunted house series, Typewriter, borrows from India's rich tradition of genre fiction.
The beloved character Salvo Montalbano, like its author, the late Sicilian novelist Andrea Camilleri ("il padre di Montalbano"), can be brusque and ornery, but he has a strong ethical code and passionate commitment to justice.
The German-language sci-fi thriller Dark perfectly captures the unsettling experience of being trapped by history.
Designated Survivor Season Three effectively criticizes the Trump administration and poses complex questions in our time of the rise of the extreme right.
Director Ari Aster's uncompromising artistic vision in Midsommar creates a singular viewing experience of horror, beauty, and bafflement.
How can we appreciate David Lynch's Blue Velvet, a film about America's private darkness, in an era when such anxieties, tensions, and corruptions are so openly apparent?
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