As Carol, Blanchett is both boldly assured and covertly lost. Her voice is deepened and authoritative, her body language at once contained and careless.
PositionStaff Writer
JoinedMay 27, 2017
Articles28
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 Ingrid Bergman, Cary Grant, Hitchcock, and Notorious
Desperately Seeking Susan is a movie about iconography as a narrative strategy, as a cinematic device, as the foundation of an artistic career.
If anything, Charade is a screwball thriller—and surely the best movie that Howard Hawks never made.
When Martin Scorsese asked Richard Price to adapt Dostoevsky’s novella The Gambler for film, the art world craze of the late...
On the many charms of The Philadelphia Story.
Perhaps most central to The Place Beyond The Pines is the feeling of compulsion: that each man falls neatly into a dilemma that will undo him.
Silence and sentiment. Emotion and fear. The haggard, inconstant flashes of beauty. —The Great Beauty (Paolo Sorrentino, 2013) When Christopher Nolan...
The Third Man moves with a torque that seems both instinctual and skilled.
In The Hunger, the dissonance between Deneuve’s line readings and her lines is irrelevant. Unlike her early films, she is not portrayed as exiled from reality—rather, the human world falters in her sight. To look at her is to be enchanted.
t a recent gig at a New York ad agency, I sat with a 26-year-old creative producer and a 45-year-old...
The Royal Tenenbaums is, in part, a love letter to an imaginary Manhattan, a fable which lifts liberally from other renditions of the place, a Calvino-esque invention in which the streets extend to infinity.
