film

“Art is integration,” says David Dark. “Empire is disintegration.”

My snob origin story begins in the typical way: with passion.

Two very different Frankenstein movies share a central concern: If humans unleash monstrousness on the world, who are we to judge when our monsters turn against us?

One Battle After Another makes no argument for the “right” sort of revolutionary action. It’s more concerned with the relationships between parents and children.

The filmmaker knew that our desire to comprehend is intimately tied to our desire to control.

It’s hard to talk about the transformative power of being onstage without sounding ridiculous. Sing Sing and Ghostlight show us instead.

When I watch a mother slay a monster and hustle her kids to safety, it never fails to satisfy.

Around the world, filmmakers have used a horror framework to explore the fears and nightmares of their societies.

Religion and horror often ask us to reflect on the same set of questions.

Romanian filmmaker Cristian Mungiu takes a hammer to true-to-life events and then puts the pieces back together again.

He carries the hesitant masculinity of Twilight’s Edward Cullen in his body.

A growing number of Malayalam-language films feature Christian characters or themes.

At a time of rapid secularization, filmmakers seem intrigued—if sometimes also repelled—by religion.

Personal conversion is part of social change, but we can’t end our stories there.

Jordan Peele’s new horror film reveals the pasts we are all tethered to.

Can memories of childhood joy really make up for predatory lending and labor busting?

In Cuarón’s film, both love and violence come in waves.

If whiteness is a fiction, it's one that does a lot of damage.