The intersection of filmdom and feminism
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Birds of Prey: And The Fantabulous Emancipation of One Harley Quinn is a candy-colored, cocaine-infused celebration of feminine anger the likes of which we rarely see, if ever, in comic
Within Our Gates holds a number of distinctions, not the least that it’s the oldest surviving feature film directed by an African American. But Oscar Micheaux’s anti-racist polemic is far
Gretel & Hansel: A Grim Fairy Tale is Oz Perkins’s follow up to the imperfect I Am the Pretty Thing that Lives in the House and the very perfect The
H.P. Lovecraft’s work has had an odd life in the movies. The writer is undoubtedly influential on directors like Guillermo del Toro and John Carpenter, and his mythos of multi-tentacled
“What had hitherto been merely the urge to record certain actual events, now became the aim to represent objects by special means exclusive to film.” – Rudolf Arnheim, Film as Art
In a pivotal scene in Taika Waititi’s Jojo Rabbit, Gestapo officer Deertz (Stephen Merchant), gazes around at Jojo’s (Roman Griffin Davis) room, with its images of Hitler, SS posters, and
Long before he became the Master of Suspense, Alfred Hitchcock was a workaday filmmaker whose output mostly consisted of comedies, melodramas, literary adaptations, and chamber pieces for British International. Kino’s
