Director D. Mitry talks with PopMatters about his debut feature film, My True Fairytale, whose story aligns with the tragic loss of his daughter.
Using Lewis Carroll's Alice's Adventures in Wonderland as the basis for his film, Claude Chabrol essays a woman's metaphysical journey into fear in his fantasy-themed Alice ou la dernière fugue.
Director Natalie Erika James talks with PopMatters about how she invites her audience to project their fears onto the screen in her slow burn and suspenseful horror, Relic.
Scorsese's selections for World Cinema Project No. 3 recall an attitude typical of a bygone age of film studies when professors would rationalize overlooking the reactionary politics of a film because aspects of the filmmaking itself trumped such "trivial" concerns.
Superhero media has a history of critiquing the dark side of power, hero worship, and vigilantism, but none have done so as radically as Watchmen and The Boys.
There's so much tragedy present, so many skullduggeries afoot, and so many cruel and vindictive characters in attendance that a sad and heartbreaking ending seems to be an obvious given in Paul Leni's silent film, The Man Who Laughs.
Sinuous camera moves and stylish direction, endings that surely wouldn't have flown after the Code crackdown: four pre-code talkies from Cecil B. DeMille, Phil Goldstone, Victor Halperin, and Stuart Walker.
A character named Magda dies, and lives, in language only in Ottessa Moshfegh's Death in Her Hands. But then again, don't all literary characters?