I’d love to know what it’s like to be a writer who doesn’t struggle with anxiety and depression, the sort of writer who doesn’t identify with Shirley, curled beneath her sheets in a blacked-out bedroom.
PositionSenior Editor
JoinedMay 27, 2017
Articles21
Kelsey Ford on murder mysteries, gentleman sleuths, and Rian Johnson's Knives Out.
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.
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.
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.
Women aren’t the stories you think their bodies tell you.
As a season, Twin Peaks: The Return contains itself; it answers its own questions and then undoes its entirety.
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.
The world of Howl’s Moving Castle, filled with mystery and magic, strips away the truth of a body’s danger.
On Manchester by the Sea and the weight of grief.
Joachim Trier’s first film, Reprise, is the Norwegian Kicking and Screaming, the male Virgin Suicides.
What does it mean to be a good person? Is it a small thing, or is it big? Is it enough to try?