Earlier this year, I caught a re-release of Luchino Visconti’s family saga, Rocco and His Brothers (1960) at BFI Southbank. While I thoroughly enjoyed the …
The Lost Grammar of Emotion in Film: Why Modern Audiences Take Melodramas Less Seriously
The Christmas Movie: Discussion by a Lover of Summer
Introduction This brief essay exploring the idea, rough genre or attribute of the “Christmas movie” began with an incredibly committed debate between me, two other …
Caught Stealing (2025)
Hank (Austin Butler) is an avid baseball fan, who splits his days between a job at the local bar in New York, and Yvonne (Zoë …
The Last Dance (2024)
Death is a common theme we often encounter in films, but what about the procedure that follows a person’s death? They are usually overlooked as …
Stop Looking Away: One Battle After Another (2025) Review
Paul Thomas Anderson’s One Battle After Another stands out as an absolute blockbuster of resistance against hatred. It firmly opposes the current wave of franchise-dominated, …
Superman (2025)
In a conversation about James Gunn’s Superman, one could sit and talk plenty about pacing issues and under-rendered CGI all day – take down as …
The Studio (2025): Hollywood in Autopsy
Every time Disney green-lights a new live-action sequel of one of its classic films, Tinkerbell takes a drink of poisoned medicine and dies. In an …
Riding the French New Wave: A Summer Series
As deodorant becomes ever more crucial, parks become more picnic blanket than grass, and grass becomes watered with chicken wine, it is clear that summer …
Pavements (2024): On the World’s Most Important Band
Carys Manjdadria-Jenkins pins down Alex Ross Perry’s Pavements, a documentary/mockumentary/fictional concert film which stands out in the sea of musical biopics as a ‘semiotic experimental’ …
Witches (2024)
Carys Manjdadria-Jenkins reviews Witches– Elizabeth Sankey’s essayistic film examination of mothers, witches, and the ways we mishandle both. Women often come in threes. The high …