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.
“I'm aware, as I'm writing, that I'm changing camera angles.”
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.
Few know the film—the first feature-length film by a West African director—was based on a real-life incident, a real tragedy lost in colonial archives.
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.
A behind-the-scenes look at what Public Books editors and staff have been reading this month.
“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.
When creating and selling culture, you’re also selling a story about that culture—for good and for ill.
Comedy demands a fall guy—someone upon whom the absurdity crashes and yet who emerges unscathed. And in comedy, Buster Keaton remains unrivaled.
Bong Joon-ho’s critique in Parasite is less of “universal” capitalism than of the particular imperialisms that have shaped Korean life.