In Irving Rapper’s Now, Voyager—as in all great Hollywood melodramas—gestures are charged with the force of things that cannot be, desires that can barely be spoken.
All I can say for certain is that, for just under four minutes, Dan Deacon took me out of my mind.
On The Secret World of Arrietty, teenage despair, wanting what you can't have, and being wanted when you can't be had.
The beauty of three consecutive shots of a luncheon ballad transforms Brooklyn from a lovely period drama into a lifeline, as profound and identifiable as a fingerprint.
Break out the tissues: this month we’ve got a revealing one-on-one episode, with co-hosts Chad and Veronica swapping a medley of their most memorable & formative movie moments.
Ryusuke Hamaguchi’s Wheel of Fortune and Fantasy takes care to determine what constitutes and calculates the distance between two people, to examine the shapes that relationships can take.
Who wouldn’t wish for release? A dizzying catharsis? A moment where the body no longer obeys but flings itself to the furthest corners of its reach and comes out dancing?
At its core, Spencer is a film about belonging—or more aptly, about one’s failure to belong.
Camera Buff is more than a narrative film with documentary elements; it’s a reflection on the documentary medium that uses the genre itself as a frame through which to consider its limits.
This is the moment of a woman alone, shuddering with the g-force and fear; repeating into the static void a fierce whisper to convince them: “I’m okay to go. I’m okay to go.”
Christopher Nolan's The Prestige paints twin portraits of men driven by ego, by an existential hole that won't allow them to find satisfaction anywhere but on stage.
Both Josef von Sternberg’s The Scarlet Empress (1934) and Hulu’s current series The Great use the opulence of the Empress’ court to tell the story of Catherine's rise as a triumph of light, elegance, and beauty over a twisted, grotesque darkness.
