Issue 62: Body Archives - Bright Wall/Dark Room

The moment I always return to isn’t one of Videodrome’s spectacular set pieces, but it is what I consider the film’s Cronenberg turn: the instant you understand that that’s what you’re watching, where the film admits its appetite for what bodies can stand and do.

The Female Body As Subject

Hope Rehak·

Issue 62: Body

A new crop of female auteurs is challenging The Male Gaze.

George Washington (David Gordon Green, 2000) | art by Tony Stella

God’s Mistakes

Fletcher Powell·

Issue 62: Body

In George Washington, David Gordon Green uses time the way a painter might use negative space—he shapes our understanding of what we’re seeing, not through a series of plot points, but by giving us moments that, taken alone, seem random or incidental.

She’s Gone Where the Goblins Go: The Wizard of Oz at 80

Kelly Coyne·

Issue 62: Body

Though we continue to revere stories like The Wizard of Oz as folklore, 2018 demands that we revisit the canon—our cultural body of work—while reckoning with the entertainment industry’s brutal legacy of abuse.

Southern Fried Daredevil

Nadine Smith·

Issue 62: Body

Johnny Knoxville’s presence as a star has a lot to do with the desire of young men to test their bodies—not in rituals that prove their manhood, but in experiments that question its elasticity, its dexterity, its fluidity.

Goon, Hockey Fandom, and My Bittersweet Love for Doug Glatt

Emma Koch·

Issue 62: Body

Goon is the rare sports film that loves it subject and is smart enough not to romanticize it.

Kirsten Dunst in THE VIRGIN SUICIDES (1999) | Brianna Ashby

Woman is the Loneliest Creature: Growing up with The Virgin Suicides

Hannah Strong·

Issue 62: Body

Two years into my struggle with mental illness, I discovered The Virgin Suicides. While a team of psychiatrists struggled to diagnose me, and my school struggled to teach me, a movie was helping me make sense of my mind.

Exquisite Corpse

Merritt Mecham·

Issue 62: Body

Through a combination of live-action and stop-motion, Jan Švankmajer’s Alice leans into the unsettling nature of assemblage.

I Was So Much Older Then: Aging on Screen in Star Wars, The Before Trilogy, The Up Series, and the Films of Harold Lloyd

Graham W. Osborne·

Issue 62: Body

As film is primarily a visual artform, a film series presents us with the most in-depth way to view and examine the aging process in art.

Jonathan Silverman and Andrew McCarthy in WEEKEND AT BERNIE'S 2

Weekend at Bernie’s II: Why Would You Need To Guard A Dead Man Stuck In A Two-Foot Refrigerator?

Ciara Moloney·

Issue 62: Body

On slapstick, body horror, and Weekend at Bernie’s II.

Sigourney Weaver in ALIEN 3 | artwork by Tony Stella

Women, Aliens, and Dangerous Things: Female Bodies in Alien 3

Sarah Welch-Larson·

Issue 62: Body

More than any other Alien movie, David Fincher's Alien 3 is aware of Ripley’s existence as a woman, and the unique and universal horrors that come with the territory of inhabiting a woman’s body.

These Corruptible Vessels

Ethan Warren·

Issue 62: Body

Pet Sematary is not a movie that cares about your sensitivities. What it does care about, to the point of obsession, is bodies—and the horrors that can befall them.