This particular year is filled with refreshing and bold new films from newcomer filmmakers like Aftersun’s Charlotte Wells to veterans Todd Field and Park Chan-wook.
Through characters like these three, horror shows how it uses loneliness to warp the world around us and turn it monstrous.
Through body horror, we confront our physical trappings and limitations. Through psychological horror, we confront that which we simply cannot control.
A half-decade after its release, Paul Schrader’s “First Reformed” is more timely than ever – in both its despair and its glimmer of hope.
Why has Paul Verhoeven and Joe Eszterhas’ 1995 cult classic “Showgirls” endured as a queer cult classic? Not because it’s because the film is secretly a high art masterpiece (it isn’t), but because it embraces camp with both arms and then kisses it on every cheek.
The more we dodge the subject, the more alienating it feels when we do feel depressed, because we start to feel like no one else feels this way – so we seek out representation in art.
Marvel villainizing Wanda’s desperate desire to be a mother says more about the studio’s trivialization of motherhood than anything to do with Wanda’s character.
Although it came out twenty years ago this month, ‘About a Boy’ remains one of the best and most sensitive mainstream depictions of a reimagined system of care in support of mothers.
Arguably, the melodrama is where we have found better, more multidimensional portrayals of motherhood.
Sarah Connor’s body and behavior remake what movies think a mother is.