Dancing Through the Unease: An Interview with ‘Madeline’s Madeline’ Cinematographer Ashley Connor
Pablo Staricco Cadenazzi Interviews ‘Madeline’s Madeline’ Cinematographer Ashley Connor
‘Napoleon Dynamite’ Turns 15: An Interview with Actor Efren Ramirez
Greg Carlson Interviews ‘Napoleon Dynamite’ Actor Efren Ramirez
Vague Visages Short Stories: Bunk Bed by Georgia Luckhurst
Vague Visages Short Stories #14: Bunk Bed by Georgia Luckhurst
Attack the Headlines: How Joe Cornish’s Films Subvert Gloomy British News Stories
“That Cornish has managed to make two films that can easily be viewed as thoughtful ruminations on the state of Britain in the centre of two national crises should be applauded.”
An Exploration of Bonds, Losses and Resilience in Hirokazu Kore-eda’s Family Dramas
“Kore-eda has the caring, loving eyes of a father who cannot help but follow all his children walking hand in hand towards the horizon.”
A Distinct Vision: On Naoko Yamada’s ‘Liz and the Blue Bird’ and ‘A Silent Voice’
“Few animated films look like Yamada productions, fewer still feel like them.”
The Kids Aren’t Alright: A Preview of Rendez-Vous with French Cinema 2019
Marshall Shaffer on Film Society of Lincoln Center’s Rendez-Vous with French Cinema 2019
IFFR 2019: An Interview with ‘We’re All Sailors’ Filmmaker Miguel Ángel Moulet and Cinematographer Camilo Soratti
Yoana Pavlova Interviews ‘We’re All Sailors’ Filmmaker Miguel Ángel Moulet and Cinematographer Camilo Soratti
Hope and Despair: Paul Schrader’s ‘First Reformed’ Screenplay
“For Paul Schrader, First Reformed’s visual style realizes ideas of transcendental style that he first theorized at the beginning of his career. But that style only works because it serves the story and character he crafted so carefully.”
Double Consciousness: Spike Lee’s ‘BlacKkKlansman’
“‘BlacKkKlansman,’ fairly or not, will be judged as Lee’s ‘comeback’ movie. He never really left, of course.”
Photo Essay by Andy Witchger: Kacey Musgraves at St. Paul’s Palace Theatre
Just days before winning Album of the Year at the 2019 Grammy Awards, Kacey Musgraves performed ‘Golden Hour’ songs at a sold-out Palace Theatre in St. Paul, Minnesota. Check out Andy Witchger’s photo essay.
A Divine Madness: Gregory La Cava’s ‘Gabriel Over the White House’
“There is little doubt that ‘Gabriel Over the White House’ was a test balloon of sorts, priming the audience for a discussion on the merits of the strongman leader, asking them what they would be willing to sacrifice in order to ameliorate the national plight.”
A Man with No Country: A Conversation with ‘Burning’ Star Steven Yeun
Iana Murray on Her London Film Festival Conversation with ‘Burning’ Star Steven Yeun
‘Finding Dory,’ Restoring Relationships and Finding a Way to View Mental Illness
“Sometimes, there’s a moment in your life when you’re experiencing something that perfectly intersects with a character on screen.”
Album Review: Boy Harsher ‘Careful’
“There’s no solace in the music of Boy Harsher, only a feeling that we are all facing the same fears and uncertainties. Yet, sometimes, that is solace enough.”
Out Among the Stars: Warren Beatty Reflects on Revolution in ‘Reds’
“Just as Reed’s real-life contemporaries reflect on the revolutionary ideals of their era in ‘Reds,’ Beatty bears witness to his own, staring down a massive canvas of his contemporaries’ successes and failures, the romance of their innovations and the exclusionary nature of their excess.”
Fight Like a Man: The ‘Rocky’ Series and Masculinity
“The ‘Rocky’ films have given us great heroes. Their protagonists are sweet and kind, courageous and indominable. They have given us so much to cheer for. But they’ve also grown out of an idea of masculinity that is deeply, meaningfully flawed.”
Hell Hath No Fury: How Women Dominated Horror in 2018
“The future of horror isn’t female, it’s the present. And it’s about bloody time.”
Vague Visages Short Stories: iamdifid: by D.M. Palmer
Vague Visages Short Stories #13: iamdifid: by D.M. Palmer (Sheffield, UK)
We Are Our Media: ‘Assassination Nation’ and Pop Art Society
“Part of me expects something as grandiose as ‘Assassination Nation’ to happen in real life, and that’s what’s especially terrifying.”