While Revenge cuts a swath through the sandbox of some of the tropes of its genre, Coralie Fargeat's film is also powerfully, screamingly feminist.
For a long time, if justice had a name, it had to be Lt. Columbo.
The Conformist demonstrates how the violence of fascism often grows not from evil, but from nothingness.
In allowing room for all the angles that motivate Amy, Enlightened asks us to consider the things that drive us, and ask ourselves: Do they make our fight any less valid if our hearts are in the right place?
Through its musical score and immersive soundscape, Stanley Kubrick's Paths of Glory attunes us to the fundamental dissonance and discord of broken human institutions.
Bing Liu's Minding the Gap eschews traditional narrative arcs, touring wreckage of the past—a past that is still driving and informing the present—and redefining cinematic language as a means to an uncertain end.
Quentin Tarantino's Inglourious Basterds operates on two levels for its entirety; it both imagines a different story and examines the ones we’ve already told.
French director Ladj Ly picks up Victor Hugo’s matters of poverty, injustice, and revolt and runs with them—far enough away to reclaim Les Misérables for a 21st century country.
Watching Boys State now is a strange experience—I try to spot myself in the movie and am mostly unable to.
Norma Rae captures a glimpse of a history I can’t experience, the feel and sound and sweat of it.
If Rurouni Kenshin could be said to have a central thesis, it is this: healing is necessary to justice. And if justice is not derived from healing, it may not even be justice at all.
Nausicaä is a hero, but it’s not enough to want her to lead us, or to wait for her to save us. We must become her.