A mid-winter love affair feels decadent but also rather necessary, and Cold War rewards like a hot chocolate spiked with brandy: warming, bracing, to be savored.
PositionStaff Writer
JoinedMay 27, 2017
Articles27
Karina Wolf has been a Staff Writer at Bright Wall/Dark Room since 2013. She studied literature and film in New York, Paris, and Dublin, and works in television and film production. She is the author of the children’s books The Insomniacs and I Am Not a Fox. She lives in Manhattan with her two dogs, Luca and Barry Manilow.
On Ingmar Bergman's The Passion of Anna
The question of Nocturnal Animals, with its parallel narratives that never quite connect, becomes: what is the urgency of a story in which its greatest violence is called out as fiction?
Like many of Hitchcock’s films, Spellbound is a work that is elegant, uncanny, uneasy, and compelling.
Amid the world’s surfeit of impressions and images, distractions and demands, Wings of Desire shows us how to recognize the real and the urgent.
In Phantom Thread, the concession of loving is not an ending, nor a triumph—it is a turn of the screw.
Isabelle Huppert is foremost an actress of maturity.
The mind stutters when it encounters loss. Trauma is the great em dash of the mind’s storytelling impulse. This tension — between the comfort of meaning and the volcanic disjunction of emotion — troubles every frame of One More Time With Feeling.
A movie about Christmas is a movie about rituals as well as magic.
In his art, Prince was America’s answer to Schopenhauer—he was a lightning rod, an earworm, an internal monologue from outside.
This is life according to Miller’s Crossing: friendships are canceled and reinvented; allegiances sworn, reviled, reinstated; lives snuffed out and reborn.
As Carol, Blanchett is both boldly assured and covertly lost. Her voice is deepened and authoritative, her body language at once contained and careless.