In Eric Rohmer’s 1972, L’Amour l’après-midi or Love in the Afternoon, the subject of cheating is approached subtly, but addresses further topics in romantic relationships that are still relevant today.
Jean Luc-Godard started filming Tout va Bien —which translates to “everything is fine”— in 1967, prior to the tumultuous French revolution in May of 1968, highlighting a strong political message through the film’s characters. The title is ironically humorous considering that during May of 1968 in France, everything was not, in fact, fine.
Voilà, welcome to issue number five of A Newcomer’s Guide to La Nouvelle Vague! As we move towards the end of this series on the French New Wave cinema, we will discuss films from directors Truffaut, Luc-Godard, and Resnais, with each film vastly different from the others.
Francois Truffaut’s 1962 film, Jules and Jim, centers around a pair of best friends named – you guessed it – Jules (Oskar Werner) and Jim (Henri Serre). The pair both fall for a woman named Catherine, but their relationship proves far more complicated than it appears. With a heartbreaking ending, this film presents life and love realistically; not everything is sunshine and rainbows, not even love.
Muriel, or The Time of Return, directed by Alain Resnais in 1963, is the follow up to Last Year at Marienbad (1961). Both films discuss the nature of time and how memories can truly haunt you forever. Near the end of this review, we also dive into Resnais’ past and personal style in filmmaking, including very specific editing and shooting styles.
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).
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 Jay and Aaron discuss Karyn Kusama’s “The Invitation” (2015).
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 David and Lucy discuss Lynne Ramsay’s “We Need to Talk about Kevin” (2001).
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 Maddy and Hattie discuss Agnieszka Smoczńska’s “The Lure” (2015).
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 Kelli, John, and Kamal discuss Mary Lambert’s “Pet Semetary” (1989).
Interested in getting your film project distributed or your script picked up for production? Here’s your chance: First Frame International Film Festival’s inaugural year is offering a distribution deal or the opportunity to have your script produced for the Top Prize winner!
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.
Between Two Ferns: The Movie is Zach Galfianakis’s latest attempt of translating his online comedy series into a full feature film, doing so with minimal character development but enough jokes to leave any viewer with tears in their eyes.
The Mountainfilm festival’s theme for the 41st year is equity, meaning equal opportunities for everyone. Erik Osterholm’s Ascending Afghanistan focuses on thirteen Afghani women mountaineers pushing through the setbacks women in their country face.
The 2019 Mountainfilm Festival in Telluride, CO, left festival-goers were left with a disorienting sensation: would anything we learned here come with us into our regular lives? Author Cheryl Strayed and director Tom Shadyac responded in their talk titled, What Now?, emphasizing a feeling of great of equanimity amongst all who attended.
One of the last films shown at Mountainfilm was Gay Chorus Deep South (2019, David Charles Rodrigues), the story of a San Francisico-based gay men’s chorus tour through seven red states and emphasizing social issues that dealt with identity, communities, and politics.
Going into the Mountainfilm 2019 screening of Any One of Us, nearly every audience member knew that professional mountain biker Paul Basagoitia was going to suffer a devastating accident leading to a spinal cord injury. Fortunately, director Fernando Villena was very aware of this fact and used it to the film’s advantage.
With animation, personal attachments for the director, and multiple subjects, Moonlight Sonata: Deafness in Three Movements, directed by Irene Taylor Brodsky, spreads light on the topic of deafness in an interesting way.
Full of unique storytelling modes, interesting characters, and beautiful camera work, Tigerland is a work of art created for a great cause, which is why it was a perfect fit for the Mountainfilm festival.