Fran Hoepfner on The Irishman, Uncut Gems, Marriage Story, Portrait of a Lady on Fire, Parasite, First Cow, and other highlights (and not so highlights) from the New York Film Festival. Read More
PositionEditor-at-Large
JoinedMay 27, 2017
Articles39
In The Birdcage, jokes aren't simply clever bits of wordplay, but rather a continual give and take. This is the May touch—no one ever fully wins an argument; instead, it’s a constant battle for the last word. Read More
The Warriors is about living with—through, during—the night, a lesson we all learn as kids, and carry with us as we sleep. It’s not so much about the fear of what’s behind, but about running as fast as possible toward what’s on the other side. Read More
Let us thirst again, we beg. It’s one of the few things we have left. Read More
For as long as I can remember, my mom has referred to Pulp Fiction as the most violent film she had ever seen in her life, and I wanted to know why. Read More
What makes Mission: Impossible — Fallout and Free Solo what they are is not death. It’s the spectatorship of death. It’s watching those around a person come to terms with what we all know is out there. Read More
Seeing movies is a gift, and I can’t wait to go back next year. Read More
There's a deftness to Ocean's Eleven that feels magical—of all the material for adults that I consumed a little too early, this was the only one that secretly felt like it was for kids. Read More
I saw Lady Macbeth in the dead weight of summer with two male friends. This was, as politely as I can say it, a mistake. I don’t think we had the language to talk about it afterwards. Read More
On The Truman Show, Jake Paul, and the increasingly blurred lines between the performed and private self. Read More
Good Time is an itch, a nagging. I want to let it go, but I, too, have been prone to spiral. Read More