Director Jacques Audiard talks with PopMatters about straddling the divide between art and commercial cinema with his comedy/romance, Paris, 13th District.
Thomas Savage’s novel and Jane Campion’s film adaptation of The Power of the Dog depict the danger in Americans’ distrust of civic institutions.
Gary of Licorice Pizza behaves like all male characters from Paul Thomas Anderson’s gallery of sociopaths, except now the type is cast as a romantic hero.
The debate over whether the 2009 rom-com (500) Days of Summer is sexist is valid, but the filmmaking and acting are superior to its dull contemporaries.
Powell & Pressburger’s film version of Hans Christian Andersen’s “The Red Shoes” asks, is Art worth dying for?
Italian romance comedy Generation 56k toys with the timeline between instant and delayed gratification in the eras of the early internet and social media.
Frankenstein’s daughter, in modern parlance, is some kind of proto-“trans” creation of a woman’s mind within a patched-together male body. This is heady stuff.
In a brave and subversive move that appealed to mainstream audiences yet was undeniably queer, “AIDS film” Parting Glances used barbed comedy to convey tragedy.