Winona State University’s Film Studies Program and Krueger Library are the recipients of a collection of books donated by the estate of Twin Cities documentary filmmaker, curator, and cinephile Al Milgrom, who passed away in 2020 at the age of 98.
On Friday, March 12 at 7 pm the Film Studies Program is sponsoring a free virtual screening of Lauren Baker’s first feature film, Cohabitation (2020): go to https://watch.eventive.org/wsu for a free ticket.
Welcome to the sixth and final issue on the French New Wave film movement. We will discuss topics like the Black Panther Party, adultery, political protests, and more during this final issue, finally concluding our journey through one of the most important and iconic film movements of all time.
As my last film in the French New Wave series, It is with a heavy heart that I introduce François Truffaut’s 1973 film, La Nuit Américane, or Day for Night in English. Despite my melancholy, the film isn’t actually sad, but rather enjoyable. Day for Night fully shows what It’s like to work on a set and film a full feature-length movie from different perspectives of everybody working on set, such as the actors, the director, the script girl, the props man, and several other employees.
Agnes Varda’s 1968 documentary titled Black Panthers openly and honestly captured the group’s members and what they stood for within a brief twenty-eight-minutes. This piece also dives into how this 1968 documentary is incredibly relevant in 2020, including discussion on “Black Lives Matter”, “All Lives Matter”, and more.
Here we are: the final post of my film criticism series. While the prior one focused on Arrival and its rejection of nihilism, today’s discussion on Ender’s Game, Gavin Hood’s 2013 space-war film, concludes my exploration of the science fiction genre. “What...
Hi, and welcome to the penultimate entry in my film criticism series. As I explore the science fiction genre, my last post on Denis Villeneuve’s Dune and its prophetic visions has led me to the filmmaker’s earlier sci-fi installment, Arrival (2016). “Despite...
Thanks for joining me as I continue to analyze the science-fiction genre in my film criticism series. My last post focused on Rise of the Planet of the Apes and its ideas of undeserved power and questionable personhood. Today, I am looking at Denis Villeneuve’s latest...
I am excited to welcome you to the second half of my film criticism series! Over the last couple months, I have analyzed four different psychological thrillers, ending with a discussion on 12 Monkeys’ negative depiction of humanity and scientific advancement. In...
Here we are: my fourth and final post on psychological thrillers before I move on to the second half of my film criticism series. Last time, I examined Martin (1977, dir. George A. Romero), a film that also belongs to the vampire genre, and demonstrated how its...
Welcome to the third post in my film analysis series. In each of my first two entries, I’ve studied a different psychological thriller. The last one discussed how the antagonist from Split (2017, dir. M. Night Shyamalan) is actually a victim, and how his abusive...
Welcome back to my film criticism series, in which I’m currently examining the psychological-thriller genre. In my last post, I analyzed Last Night in Soho (2021) and its warning against romanticizing the past. Today, I’m going to discuss Split (2017), M. Night...
Welcome to my first post in a series of eight in which I will analyze eight different films — and the themes, devices, and ideas they employ — across two genres. Occurring every other Friday, the first four posts will be about psychological thrillers, and the latter...
Film Studies students in the “Women Horror Directors” course developed a podcast show they are calling “Not Another Boys Club: Women Make Horror”. In this episode, students Shelbie and Molly discuss “XX” (2017), an anthology collection of short horror films by several women directors.
Film Studies students in the “Women Horror Directors” course developed a podcast show they are calling “Not Another Boys Club: Women Make Horror”. In this episode, students Anna and Lily discuss Jackie Kong’s “Blood Diner” (1987).
Co-Directors Hailey Torborg and Shelbie Carson worked collaboratively with dozens of peers to create 2020: One Week on Campus. With proper social distancing and safety protocols this film captures the life of college students during the pandemic, protests, and politics of fall semester 2020.
An educational documentary film exploring various woodworking careers at Sanborn Canoe Co. and Merrimack Canoe Company.
The premiere of the highly anticipated Disney live-action, Mulan (2020), is now in the midst of major controversy after falling flat on several different aspects in the eyes of both the public and critics.
In this episode of The Professor, emotions run high as students compete for attention and cope with that most dreaded of tasks: the group project. Who will get the “final A”?
1917 is one of the most talked-about films of the year. But besides for the masterful technical work, how does the war film measure up?
An unpredictable film covering the struggle that aging actors faced in the 1960’s, Once Upon a Time in Hollywood employs many of the era’s techniques and invites its viewers to reminisce while foreshadowing the violence that lurks in Hollywood’s shadows.
Paying homage to the classic Siskel and Ebert review show: At the Movies, Noah Mruz and Harrison McCormick discuss the latest and greatest Eddie Murphy Film.
Lorene Scafaria’s Hustlers (2019) brings together a great team of A-List talents, but ultimately, leaves a lot to be desired both its ideological message and its cinematography. In the end, the only thing Hustlers will be hustling is your time and money.
This cheesy love story will bring viewers back to their high school days with its awkward relationships and confrontation of bullying.
Chucky gets his very own remake 31 years later, one with cool effects and creepy surprises, with talents from Mark Hamill and Aubrey Plaza.
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