‘In the Cut’ and How Marriage Can Kill You, Actually

‘In the Cut’ and How Marriage Can Kill You, Actually

How Jane Campion erotic thriller ‘In the Cut’ (2003) starring Meg Ryan subverted the expectations of the erotic thriller genre and has gone underappreciated for close to two decades. Article by Margaret Roarty.

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Funny Games and the Victimisation of the Audience

Funny Games and the Victimisation of the Audience

How Michael Haneke makes us as much the victims of his world-renowned horror film ‘Funny Games’ as he does his central characters. A feature essay by Jacob Heayes.

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How Midsommar and The Wicker Man Hold Much of the Same Wisdom

How Midsommar and The Wicker Man Hold Much of the Same Wisdom

How in trying to avoid taking pointers from ‘The Wicker Man’, Ari Aster made the closest thing to it, ‘Midsommar’, and how both films use the same wisdom to terrify all of us. Article by Louis B Scheuer.

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Requiem for an American Dream

Requiem for an American Dream

Requiem for an American Dream – how Darren Aronofsky’s ‘Requiem for a Dream’ (2000) is about more than just drugs, it’s about commodification, capitalism and modernity. Article by Kristina Murkett.

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Loincloths, Muscles, Sorcery and the Rock of Uranus: A Journey Into the Realm of the Italian Peplum (c.1958-1965)

Loincloths, Muscles, Sorcery and the Rock of Uranus: A Journey Into the Realm of the Italian Peplum (c.1958-1965)

A journey into Italian Peplum, the cinema of mythical gods, muscle-bound heroes, sorcery and loincloths, as presented by Paul A J Lewis.

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Nolan’s Films Are Complex, but Are They Deep?

Nolan’s Films Are Complex, but Are They Deep?

Famed film director Christopher Nolan has long been a filmmaker who pursues interesting concepts, but are movie releases such as ‘Tenet’ and ‘Inception’ actually deep? Louis B Scheuer explores.

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Christopher Nolan’s Cinematic Chores: Understanding ‘Tenet’

Christopher Nolan’s Cinematic Chores: Understanding ‘Tenet’

Nolan frequently assigns his audience chores, engineering his films in such a way that requires them to participate in each narrative actively. ‘Tenet’ is no exception. Leoni Horton explores.

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Feeling Blue, Facebook? The Colour Symbolism of The Social Network

Feeling Blue, Facebook? The Colour Symbolism of The Social Network

How David Fincher’s Mark Zuckerberg Facebook movie uses colour to evoke meaning and further story. Essay by Kristina Murkett.

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Blockbuster Filmmaking and Transmedia Storytelling at the Great Pit of Carkoon

Blockbuster Filmmaking and Transmedia Storytelling at the Great Pit of Carkoon

How the Great Pit of Carkoon in ‘Star Wars – Return of the Jedi’ is an example of commodified transmedia storytelling and blockbuster filmmaking. Essay by Jacob Davis.

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