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A
Masha Egieva

Against Feminist Film

Feminist cinema is harmful to the art of film—and to feminism.
C
Edward Weech

Critical condition: what should be the relationship between critic and community?

What's the role of the critic in our common pursuit of meaning through culture, and community through taste?
M
Ruairí McCann

Martin Eden: a song of experience cut on the lathe of history

Pietro Marcello’s Martin Eden fuses avant-garde methods with classical filmmaking form for a radical, accessible high drama.
L
Tom Nel

Locke and analogues of development

Urbanism and psychology collide in a tale of tumultuous personal progress.
A
Edward Weech

A Quiet Place: a heart to love, and courage to make it known

Against a backdrop of civilisational collapse, John Krasinski's passion project reflects upon the permanent things underlying our shared lives.
T
Ruairí McCann

The people’s art: Wakaliwood and the action movie as a democratised working-class expression

Crazy World, the newest film from Uganda’s Wakaliwood studio, entrenches them as one of the most exciting loci of contemporary cinema.
Portrait of a Lady on Fire / Portrait de la jeune fille en feu (Céline Sciamma, 2019), Curzon Artificial Eye, France, Colour, Sound, 122 minutes,B
Katy D'Avella

Beyond the gaze: the radical desire of Portrait of a Lady on Fire

Céline Sciamma's film blends art and ecstasy and reaches towards utopia.
The Assassination of Jesse James by the Coward Robert Ford (Andrew Dominik, 2007), Warner Bros., USA, 35mm, colour, sound, Jesse James (Brad Pitt)T
David G. Hughes

The anxiety of influence and The Assassination of Jesse James, analogous to our cultural moment

A western that speaks to a culture war torn between the charismatic, problematic past and the ambitious, revisionist present.
The Swan Princess (Richard Rich, 1994), Columbia TriStar, USA, 35mm, colour, sound, 90 minutes, Prince Derek (Howard McGillin), Princess Odette (Michelle Nicastro)F
Savina Petkova

Fairy-tale feminism: recalling female agency in The Swan Princess

Sabotaged and overshadowed by a resurgent Disney Animation, this forgotten fairy-tale empowered at least one person.
Wobble Palace (Eugene Kotlyarenko,Wobble Palace (Eugene Kotlyarenko, 2018), USA, DCP, colour, sound, 86 minutes, Jane (Dasha Nekrasova) 2018), USA, Red Weapon (6K), 86 minutes, Jane (Dasha Nekrasova)W
Bobby Vogel

What I hate, that I do: thoughts on Wobble Palace

Technology and inner life collide—and unite—in Eugene Kotlyarenko's Wobble Palace.
The Irishman (Martin Scorsese, 2019), Netflix, USA, 35mm, colour, sound, 209 minutes, Frank "Irish" Sheeran (Robert De Niro)A
Patrick Preziosi

Ageing at the movies: The Irishman, Welcome to Marwen, and The Mule

Do the Old Guard of American filmmakers have anything left to say? More than most, it turns out.
Before I Fall (Ry Russo-Young), USA, DCP, colour, sound, 98 minutes, Samantha Kingston (Zoey Deutch)T
Bobby Vogel

The eclipse of a face: on Zoey Dutch and Before I Fall

Faces tell us what we need to know in Ry Russo-Young's Before I Fall.
True Detective (2014), HBO, USA, 35mm, colour, sound, Rust Cohle (Matthew McConaughey)L
Edward Weech

Light versus dark: truth and transcendence in True Detective

There's hidden psychology, theology, and philosophy in this unique Southern Gothic serial.
Once Upon a Time...in Hollywood (Quentin Tarantino, 2019), Sony Pictures, USA, 35 mm / 70 mm, colour, sound, 161 minutes, Cliff Booth (Brad Pitt)A
David G. Hughes

A touch of zen and violence: on the playful fantasy of Cliff Booth

As moral panic around fantasy violence flares up, Quentin Tarantino argues for a philosophy of cathartic, ethical screen violence via the charisma of Brad Pitt.
The Faithful Heart / Cœur fidèle (Jean Epstein, 1923), Pathé, France, 35mm, 87 minutes, Marie (Gina Manès)&
George Turner

“Thy shall bear witness!”: a case for the continued admiration of silent cinema

In a time of overwhelming and oppressive "realism" on screen, it's worth looking back at the creative virtues of silent cinema.
The Witchfinder General (Michael Reeves, 1968), Tigon Pictures / American International Pictures, UK / USA, 35mm, colour, sound, 86 minutes, Matthew Hopkins (Vincent Price)C
David G. Hughes

Cynical cinema criticism, a new puritanism: a polemic on where we are

Cinema has maintained a liberating anti-Puritan ethos since its conception, but how long can that last in today's febrile film culture?
Shoah (Claude Lanzmann, 1985), France, 16mm, colour, sound, 566 minutesA
Benjamin Brown

Archives of pain: Shoah, a retrospective reappraisal

A close look at Claude Lanzmann's harrowing and seminal nine-hour Holocaust documentary.
Sylvester Stallone visiting the Rocky Statue at the Philadelphia Museum of ArtT
Edward Weech

The rocky road to meaning: the enduring philosophy of a Hollywood icon

Why does Sylvester Stallone's Rocky Balboa occupy such a treasured spot in the public imagination?
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