Paola Cortellesi’s directorial debut ‘C’è Ancora Domani’ reimagines ideas of Italian Neorealism to tell of contemporary struggles through a historical lens. Essay by Jenson Davenport.
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Introducing the Sour Sweetheart, a new film character archetype to add to the ranks of the Femme Fatale and the Final Girl. She’s got a diary and a gun. Essay by Jessica Grassano.
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Stanley Kubrick’s final film, ‘Eyes Wide Shut’, isn’t about sex. It’s about Christmas. Of all the Christmas movies, it may be the most cynical. Essay by Declan O’Reilly.
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By reflecting elements of South Korean action cinema, ‘Monkey Man’ distinguishes itself from the formulaic patterns of contemporary Hollywood revenge narratives. Essay by Jake Fittipaldi.
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Tragedy seems to be a genre which no longer holds much weight in cinema. Why is this? Ceridwen Millington outlines in this cinephilic essay.
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“For me, diagnosis meant freedom… celebration… life.” Bella Madge chronicles her journey through film to self-acceptance and understanding in this Autistic Pride piece.
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Wim Wenders’ 2023 film ‘Anselm’, made in collaboration with Neue Wilde contemporary artist Anselm Kiefer, merges the experiences of museums and cinema. Article by Joanna Seifter.
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Legendary filmmaker John Cassavetes was an emblem of cinema’s independent spirit. Here’s how he became a production pioneer. Article by Leah McDonald.
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How Von Erich family wrestling movie ‘The Iron Claw’ is about the ideas of American folklore, the constructs of myth cultivated in the USA over centuries. Essay by Matthew Peyton.
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‘Shaft’ (1971) sparks discourse and debate, and challenges prevailing norms, unveiling the cultural revolution of Blaxploitation cinema. Essay by Juahl Ganaway.
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Skydance Media and Paramount are to merge following months of