Kelsey Ford on murder mysteries, gentleman sleuths, and Rian Johnson's Knives Out. Read More
PositionSenior Editor
JoinedMay 27, 2017
Articles20
Mike Mills' Beginners and 20th Century Women are both deeply personal and generous films, acknowledging how impossible it is to ever truly know one’s parent or child. Read More
In Chungking Express, everything is important—every can of pineapple, every dripping towel, every loop of “California Dreamin’”—mimicking that all-encompassing feeling of infatuation. These small items hold an entire story, the heartbreak and the hope and the waiting. Read More
In both The Haunting of Hill House and Annihilation, landscapes are the loci of the characters’ malfunctions. Hill House and Area X, respectively, give their characters a place to focus their energy—and then use that energy, that sense of comfort, to undo them. Read More
Women aren’t the stories you think their bodies tell you. Read More
As a season, Twin Peaks: The Return contains itself; it answers its own questions and then undoes its entirety. Read More
In each film, by the end, you feel you know the character’s fears, their monstrous wants and needs—and the ways they fight the snowballing desire within. Read More
The world of Howl’s Moving Castle, filled with mystery and magic, strips away the truth of a body’s danger. Read More
On Manchester by the Sea and the weight of grief. Read More
Joachim Trier’s first film, Reprise, is the Norwegian Kicking and Screaming, the male Virgin Suicides. Read More
What does it mean to be a good person? Is it a small thing, or is it big? Is it enough to try? Read More
That old Joan Didion aphorism—“We tell ourselves stories in order to live”—has never felt more real to me than it did this year. Read More