Reviews, interviews, rants: these articles do not fit into any specific category on the site, but they still had to be written.
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When we first meet the beautiful Selma (Zoé Adjani), she is passing an oral exam for a prestigious economics school in Paris. Outside, she immediately sets her sights on a beautiful male student, and their brief chat is unapologetically horny. Later on, during what appears to be one of those
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Right now in Paris, hundreds of cinephiles are occupying a cinema to try and save the building from being sold to the highest bidder. Since being put on the market by its owner in 2018, the cinema La Clef in the Quartier Latin of the French capital has been occupied
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Merry Christmas to all who celebrate! To end the year on a positive note, Animus editor Elena Lazic asked the writers from the magazine's first five issues to each briefly write about one of their most memorable and powerful film experiences of the year, whether it was with
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Manuela Lazić writes about two of the films that made the biggest impact on her at the 2021 Open City Documentary Festival in London
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El Father Plays Himself is so much more than a making-of documentary. Director Mo Scarpelli charts not so much the making of a film, as she does the making and re-making of a relationship — that between her partner, Jorge Thielen Armand, and his father, Jorge Thielen Hedderich. Son is directing
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Besides its original, welcome and refreshing focus on refugees, Remi Weekes' His House also stands out for its nuanced and unconventional portrayal of (survivor’s) guilt and trauma, undermining cliches and expectations at every turn to craft a more unstable and therefore more haunting kind of horror.
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The poor quality, cheap special effects and banal approach to both the character of Superman and the threat of nuclear annihilation in Superman IV: The Quest for Peace are of course very endearing, and the film undoubtedly deserves its place in the so-bad-it’s-good canon. But its true appeal lies
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Considering how topical this film was at the time of release and remains today — showing the bullying and silencing of a young woman working for a powerful film producer, clearly based on Harvey Weinstein — I am sure there have been tons of writing on the dynamics it explores, namely the
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At first glance, Eliza Hittman’s Never Rarely Sometimes Always appears to adopt wholesale a visual style that seeks to make the viewer experience, on a visceral level, the habitat of the characters, the mood and the texture of their lives. Shot on 16mm, the film favours close-ups on faces
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From the very first shots of Yi Yi, Edward Yang’s control of his images is evident. He does not cut away from long takes when one would expect him to, nor does he follow up a long shot with the kind of close-up most filmmakers would use to punctuate
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Something that has been occupying my mind a lot lately is the concept of fantasy. I don’t mean the literary genre, but the imaginary world that we sometimes find ourselves spending more time in than reality. I think that many of us often live in a fantasy — at least
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I have been watching a lot of Law & Order: Special Victims Unit these past few weeks, and in that show, the cops essentially do not care about why the perps (SVU talk for “perpetrators”) do what they do; all they care about is stopping them. This is obviously not