Lee Haven Jones on his debut horror film ‘The Feast’, which is influenced by the ancient Welsh Mabinogion literature of chilling folk tales, legends, and myths.
Is ‘Last Night in Soho’ a critique of nostalgia, or does it use nostalgia to suggest new possibilities for a cross-generational alliance among women and girls?
WWI was underway when silent film Filibus hit theaters, so this elegant, war-free escapism of immorality among the ruling class may have provided mass therapy.
Horror-mystery TV series Kolchak: The Night Stalker has a sour take on society that hasn’t dated since the ’70s; hence, its eternal afterlife.
Director Frida Kempff and writer Emma Broström’s Knocking is haunted by a history of indifference towards the feminine voice.
Addressing pandemic-induced topics such as loss, grief, and mental illness, Marvel’s ‘WandaVision’ serves as a metaphor for life in the time of COVID.
Is there freedom for the filmmaker and for viewers in the director-revised films that comprise ‘World of Wong Kar-Wai’, or just a forced regression?
Kino Lorber’s latest Forbidden Fruit crop yields The Lash of the Penitentes, The Wages of Sin, and Misery and Fortune of Women.