Realism and Subjectivity in Luis Buñuel’s ‘Los Olvidados’
“The realism of Los Olvidados is balanced by striking moments of subjectivity, and they’re crucial to the film’s particular representation of urban poverty.”
The Subversive Power of ‘Pee-wee’s Big Adventure’
“Thirty years after its release, the gender play, sexual politics and physical comedy shine as brightly as the 100-watt headlight on its star’s beloved bike.”
‘The Young One’ Sees Luis Buñuel Tackle the American South
“With The Young One, Buñuel rejects the surrealism that would define his early films and almost all the European work that followed, presenting a rather straightforward narrative with superficial similarities to a Tennessee Williams screenplay.”
The Insular Visions of ‘Krisha’
“It’s too late to force her way back to a seat at the table. She should have never tried to get closer.”
The Feminine Grotesque #5: Lilith’s Heir – On ‘The Strange Love of Martha Ivers’
A Series by Angelica Jade Bastién
Of Love and Other Demons: ‘Alucarda’ (Juan López Moctezuma, 1978)
A Weekly Column on Love and Erotica in Cinema by Justine A. Smith
Donald Trump, ‘London Has Fallen’ and the So-Bad-It’s-Good Candidacy
“A once-pure appreciation of misplaced passion, the hallmark of so-bad-it’s-good entertainment has been capitalistically leveraged.”
Jacques Tardi Adaptation ‘April and the Extraordinary World’ Offers a Thrilling Alternate History
“The extraordinary world of April and the Extraordinary World is no simple one, and it’s welcome that its worldview veers away from the simplistic.”
DMG’s Jeff Nichols RetroSpecial: ‘Mud’ (2012)
A Jeff Nichols Retrospective by Dylan Moses Griffin
The Feminine Grotesque #4: Madness, Thy Name Is Eve
A Series by Angelica Jade Bastién
Of Love and Other Demons: ‘La Religieuse’ (Jacques Rivette, 1966)
A Weekly Column on Love and Erotica in Cinema by Justine A. Smith
‘Whiskey Tango Foxtrot’: Empty Empowerment
“It’s not a bad movie, but no matter how long it spends in the war zone, it still feels like a tourist.”
With ‘The Mermaid’, Stephen Chow Fully Utilizes the Camera as Comedic Tool
“Stephen Chow’s invigorating, irreverent, slapstick, but occasionally serious, comedy The Mermaid is an odd beast to pin down.”
DMG’s Jeff Nichols RetroSpecial: ‘Take Shelter’ (2011)
A Jeff Nichols Retrospective by Dylan Moses Griffin
The Feminine Grotesque #3: Something Wicked – On Robert Eggers’ ‘The Witch’
A Series by Angelica Jade Bastién
Of Love and Other Demons: Nigel Wingrove’s ‘Visions of Ecstasy’ and Perverted Desire
A Weekly Column on Love and Erotica in Cinema by Justine A. Smith
Ryan Coogler and Black Intimacy
“Breaking the mold and raising his cinematic voice by embedding black intimacy in his movies, Coogler, in Creed and Fruitvale Station, uses mothers, girlfriends, children, squads of friends and Michael B. Jordan to create community.”
DMG’s Jeff Nichols RetroSpecial: ‘Shotgun Stories’ (2007)
A Jeff Nichols Retrospective by Dylan Moses Griffin
The Feminine Grotesque #2: Mirror, Mirror – On Bette Davis in ‘Whatever Happened to Baby Jane?’
A Series by Angelica Jade Bastién
The Feminine Grotesque #1: A Unified Theory on Female Madness in Cinema and American Culture
A Series by Angelica Jade Bastién