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This strange film begins like a slasher, four years before Hitchcock’s Psycho. A woman is found dead, killed in some unseen but brutal fashion by a man. A policeman on the scene talks of waves of such killings, which come and go without rhyme or reason. Though no one
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In M. Night Shyamalan’s Knock at the Cabin, gay couple Andrew (Ben Aldridge) and Eric (Jonathan Groff) and their young daughter Wen (Kristen Cui) have barely arrived in an isolated cabin in the woods when they are attacked by four strangers, who claim that if the family does not
Essays
On Charles Vanel's Dans la nuit Charles Vanel was one of the most prolific French actors of his or any time. His career spanned more than 75 years (1910 to 1988) and comprises nearly 200 credits, though he is perhaps best known for his role in Henri-Georges Clouzot’
Essays
On Samuel R. Delany's The Orchid Writer and philosopher Samuel R. Delany has long envisioned a utopia, stemming from the unique potential of cities as sites of radical egalitarian communion. A constellation of concrete, glass and humanity that’s like a counterpoint to what has, typically, been prophesied
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On Leonard Kastle's The Honeymoon Killers and Barbara Loden's Wanda At its heart, The Honeymoon Killers is a love story. This heart is black, and this love story twisted — defined by manipulation and violence more than anything else — but director Leonard Kastle goes to great pains
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On Gerald Kargl's Angst For all its brutality, Angst isn’t above having fun. Stop me if you’ve heard this one before: a man — let’s call him The Psychopath — approaches a home, a woman answers the door, and The Psychopath shoots the woman. He flees and
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On Juraj Lerotić's Safe Place, Florian Zeller's The Son and the Netflix series Dahmer - Monster: The Jeffrey Dahmer Story tw: discussion of depression and suicide This Be The Verse By Philip Larkin They fuck you up, your mum and dad. They may not mean to,
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Artwork by Neven Udovičić Any list of the best films of all time suggests the idea of consensus. Yet so much of creativity, both in terms of writing for the journalists voting in polls, and for the filmmakers who make the films being voted for, is about resisting consensus to
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At the Marrakesh Film Festival, I took the opportunity to talk to Australian director Justin Kurzel, who was enjoying his first ever festival jury experience there, watching films alongside jury president Paolo Sorrentino, actors Vanessa Kirby, Diane Kruger, and Tahar Rahim, and filmmakers Nadine Labaki and Laïla Marrakchi. We talked
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Director Daniel Goldhaber on his film How to Blow Up a Pipeline In August of 2003, a few months after George W. Bush’s “Mission Accomplished” speech, the Pentagon’s Directorate for Special Operations and Low-Intensity Conflict, an anti-guerilla task force, circulated a flier to officers and civilians advertising a
Essays
Several recent attempts to deconstruct American megachurches and televangelists fail to grasp what truly makes institutionalised evangelicalism so insidious One glance at the news can provide an immediate insight as to why American society is currently living in decidedly faithless times. In the wake of a pandemic that has ravaged
Essays
Directors Lise Akoka and Romane Gueret on their feature debut The Worst Ones When does a fascination for colourful characters fall into condescending and morbid curiosity? Where is the line between being given a chance and being used? Such questions of ethics and respect have always animated documentary filmmaking, but