Luca Guadagnino has been working out a fixation on the body for more than a decade: What does it mean to have a body? To long for another body? To watch your body change, to sweat, to heave with desire?
PositionRegular Contributor
JoinedAugust 27, 2019
Articles8
Eric Langberg is a writer from Los Angeles by way of Pittsburgh. He loves thinking too much about old movies, trashy reality TV, and pop music, and he's excited to be living in LA now because it won't be weird when he orders an iced coffee in January.
Andrea Pallaoro’s Monica is a slow, careful film, one that trusts the audience to interpret the expressions of its actors rather than feeding us meaning through dialogue and plot.
Siege revels in its shock value, as most B-movies do, but it’s also a movie that’s fiercely sympathetic to its gay characters in a way that feels quietly revolutionary.
Paul Newman represents a new type of cinematic soldier, one far more human than most portrayals of traitors are allowed to be.
That ineffable quality that made Alain Delon a star, before all of the ugliness crept in, is suspended in this frame forever, in our memory always and indelibly empty, hollow, and blank.
Watching Boys State now is a strange experience—I try to spot myself in the movie and am mostly unable to.
In 1972, with his film career dried up and few options available, Tab Hunter took a role in the Roger Corman-produced, Curtis Hanson-directed Sweet Kill—a shameless exploitation-flick ripoff of Psycho—and fashioned himself into a monstrous queer.
Miracle Mile is about many things — romance and Los Angeles and the looming threat of nuclear devastation at the close of the Cold War — but also, obsessively, it’s about marking the passage of time.