Tag: Film

An interview with Iranian director Mohammad Rasoulof about his latest film, The Seed of the Sacred Fig.

The revelation of Asghar Farhadi’s films.

How it rose, fell, and may rise again.

Bertrand Tavernier’s daring documentary about the Algerian revolution sought to break the silence in France.

Polish director Agnieszka Holland's new film exposes the violent contradictions at the heart of EU border policy.

A long line of films tracks the solidarities that arise when prohibition makes friendship too perilous.

Fifty years ago, the American Indian Movement occupied the site of a historic massacre. They won real gains in the face of brutal counterinsurgency tactics.

The novel Kindred reminds us—emphatically, gruesomely—that white supremacy is us too.

Thelonious Monk lost (and found) in Paris.

Its illegitimacy goes far beyond the war on drugs.

A “woke” remake that peddles in symbolic representation is not the film Puerto Ricans deserve.

Amazon’s Tales from the Loop has introduced a new audience to the speculative worlds of the Swedish artist, whose books depict worlds in which humanity has, in one way or another, run afoul of technology.

On the uncanny relationship between film and reality.

Recent works depict the agonies and rage of being a low-wage housekeeper or nanny. But all fail to identify capitalism itself as the culprit.

Which forms of oversight enhance erotic flourishing, and which quash it?

The director’s life reflected both the feats and the failures of the postwar U.S. experience.

In the 1974 cult-classic teleplay Penda’s Fen, the past holds the key to escaping the catastrophic present.

The Netflix series Dead to Me suggests that we might get closer to justice by forgiving each other and ourselves for the sometimes literally fatal flaw of being human.

On Honeyland, the award-winning documentary from directors Tamara Kotevska and Ljubomir Stefanov.

Why Hillbilly Elegy strikes such a national nerve.

Current contempt for age gap relationships serves to strip both men and women of their agency. 

Virology is often confused with the invisible workings of capital.

Alternate histories like Philip Roth’s force us to imagine a different America.

Jordan Peele's ‘Us’ depicts the terrors faced by black mothers in a way that owes as much to Toni Morrison’s ‘Beloved’ as it does to classic Hollywood horror.