By keeping us insistently within Bauby's point of view, inside the diving bell, Julian Schnabel reminds us of the range of living and feeling still available to us, if we extend ourselves.
JoinedMay 27, 2017
Articles28
Karina Wolf has been contributing to 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.
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.
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.
Miller’s Crossing is a tribute film, a mafia movie made of noir’s most elegant frames: Scarface, The Conformist, Le Samourai, and The Godfather refashioned in the brothers’ comically bloody hand.
