Interview with ‘Cam’ Filmmakers Isa Mazzei and Daniel Goldhaber
Zach Vasquez Interviews ‘Cam’ Filmmakers Isa Mazzei and Daniel Goldhaber
‘Les diaboliques’ and the Beginnings of the Erotic Thriller
“One of the most compelling things about ‘Les Diaboliques’ and its cinematic offspring is that viewers are always left with the sense that there are secrets untold, questions unanswered.”
TIFF 2018 Review: Brady Corbet’s ‘Vox Lux’
“By being so lazy and aggressive with his judgment of pop culture, Corbet ends up making a film that is bland in its anger, annoying in its attacks and ridiculous in its contempt for its characters and audience.”
Could Jordan Peele’s ‘Get Out’ Break Horror’s Dry Spell at the Oscars?
“Art is a product of its time; is it Get Out’s fault that the time mostly resembles a horror production?”
“Well, Childhood’s Over” – Claiming Adulthood with Some Help from Greta Gerwig
An Essay by Marshall Shaffer
Review: Darren Aronofsky’s ‘mother!’
“If ‘mother!’ lacks the refinement of a manifesto for a new breed of movie theater flick, it makes up for it in the audacity to be unique.”
Review: Brent Bonacorso’s ‘You Get Me’
“‘You Get Me’ is predictable and often frustrating, but the visuals leave a lasting impression.”
When the Male Gaze Breaks: Between ‘The Neon Demon’ and ‘Black Swan’
“In Darren Aronofsky’s ‘Black Swan’ and Nicolas Winding Refn’s ‘The Neon Demon,’ the female body is used in its most delicate and presumptuously feminine form.”
The Serious Camp of Natalie Portman
“Reviews may be breathlessly overusing the ready-made formulation of ‘Natalie Portman IS Jackie,’ but they really should be following Sontag’s lead: Natalie Portman IS ‘Jackie.'”
The Feminine Grotesque #4: Madness, Thy Name Is Eve
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