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Howl's Moving Castle | art by Tony Stella
In Howl’s Moving Castle, food is more than just a necessity—it sustains life, in every sense of the phrase: helping a body hold skin and sinew together, while acting as an expression of love and care. Read More
The meals in Gillian Robespierre’s Obvious Child and Landline are not extravagant as dining experiences, but they are meaningful as relational ones: small, comforting rituals that provide a moment of constancy amidst chaos. Read More
Harriet Andersson in Through A Glass Darkly | Criterion
Harriet Andersson’s contributions to Bergman’s oeuvre cannot be understated—her fearlessness about her body within a performance allowed her to create something both fierce and distinctive. Read More


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From the archives

1. I am indoors, with earbuds, watching media about connecting with nature, and thus the self. “Where have the simple pleasures of life gone? The beauty of a forest. Just plain breathing.” I am watching... Read More
Persona, 1966 (Ingmar Bergman) | Bright Wall/Dark Room
Criterion’s about to release the most complete collection of Bergman films yet. It’s a great opportunity to throw out the clichés and invite new perspectives. Here at Bright Wall, we’re taking the whole month to do just that. Read More
Yolanda and the Thief | MGM
The visuals in Yolanda and the Thief take explicit inspiration from the surrealist landscapes of Salvador Dalí, and while it isn’t the most successful of Vincente Minnelli’s celebrated musicals, it is perhaps the most experimental—and, for me an object of fascination. Read More
A Serious Man isn't just a more personal Coen Brothers film; it is the personal Coen Brothers film, an investigation into their own heritage and what it means to be Jewish in mid-century America. Read More
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