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.
South Korean director Bong Joon-ho’s latest film, Parasite, combines the epic class warfare of Snowpiercer with the zany activism of Okja, resulting in a brilliant, many-layered exploration of social stratification and capitalism.
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.
In today's installment of our retrospective survey of Alfred Hitchcock's singular career, we revisit his first major statements. Thrillingly, all of Hitchcock's trademark themes and signature moves are visible in these early masterpieces -- an uncanny talent, Hitch arrived, it would seem, fully formed.
In a sci-fi setting with Wild West overtones, Sophie Thatcher's Cee is discovering how far she will go to get what she wants in Prospect.
Bernard Rose's Candyman offers a moody "elegance", if you will, that's sorely lacking in other horror films of the era.
Hitchcock's motif of treacherous toying with filmgoers is intriguing to spot in his early silent-to-talkie thrillers, Blackmail and Murder!
Jacques Tourneur's Cat People and I Walked with a Zombie are considered classics today. But The Leopard Man, has always been considered something of a misstep, until now.
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.
Made for TV programs of the '70s really knew how to dish it out. Michael Crichton's Pursuit is all about men conquering each other; whereas Lee Philips' The Girl Most Likely To is a poisoned bon-bon about making pain palatable.
Director Abner Pastoll discusses his new film A Good Woman Is Hard to Find, which will have a special advance screening at Fantasia Film Festival, ahead of its world premiere at Arrow Video FrightFest.
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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