“Joyland” joins a resurgence of Urdu films in recent years whose social realist orientation it both shares and disavows.
Editor: Sharon Marcus
“I see actual male friendship, in a way that I don't in almost any other action movie from the 80s.”
Fifty-five years after its release, “Rosemary's Baby” is still a masterful depiction of abuse we are only now beginning to officially recognize as “coercive control.”
“Speaking out” is what began the #MeToo movement. But fulfilling its goals will require listening.
What are the most-assigned films in college classrooms? Three film studies professors talk about the rankings and what they mean.
Armageddon Time is undercut by the very forces it hopes to expose: white complicity, forged through the exploitation of Black life.
A new film centers on a young, unmarried woman’s attempts to secure an abortion—over a decade before France legalized the practice in 1973.
“Ecohorror” films depict nature avenging itself on humans, revealing a common but wrong-headed hope: that nature can win, even if we do nothing.
“We have to take over spaces because we are not going to be invited in.”
Many Latinxs—the nation’s largest ethnic group & most avid movie consumers—think the nation’s most beloved musical on racial tolerance is racist.
“You can wear something to be cool,” you told me, “or because another person likes it. You don’t have to be truly ‘yourself,’ or whatever.”
The secret of the Western—as Jane Campion’s “Power of the Dog” shows—is that its mythology nurtures a queer fantasy, hiding in plain sight.
What might it mean to forge a politics explicitly based in the places we are, rather than a politics of the places from which we came?
As fascist armies conquered much of Spain, a writer publicly and famously denounced high-ranking officers right to their faces. Or did he?
Which matters more, intent or interpretation? What if a juxtaposition of images in literature or art is just that—a chance encounter?
Repeatedly, the film shows this venturesome woman alone at all hours—yet never do we see her fearing or fending off assault.
An aerodynamicist and an anthropologist discuss the world of “Dune,” finding it as aesthetically beautiful as it is functionally implausible.
Some Mexican filmmakers now mirror global stereotypes about Mexico’s violence, which make the films legible for international liberal audiences.
“There is definitely a line between victims and perpetrators. But that line is not essentially determined.”
How to explain the miracle of an institution as gargantuan, complex, and pivotal to society as “government”? Watch Frederick Wiseman’s City Hall.