Michelle was a mother, a daughter, a lover before, and she remains one after, even as her assault begins to affect her behavior in unexpected ways.
As we travel across the country with people who were recently strangers, the soundtrack offers a rhythm of self-discovery in Arnold's vision of an alternate America.
Alex Robertson takes us into Tsai Ming-liang's 1997 film The River in this new video essay.
With a detailed, stylistic analysis of a straightforward case study, Kieślowski demands that murder and execution be deemed synonymous.
Altman isn't just trying to subvert the conventions of the genre, but is rather constantly calling to mind the tensions between the Western genre's expectations and his characters' inabilities to meet them.
The care put into each frame denies the viewer the usual accoutrements of passive viewing, down to the very physicality of the experience.
Structurally one can readily notice that Bergman was trying to participate in the touch-and-go slapstick style of comedy he had watched as a child--yet this homage all too often registers as an attempt to gratify the director himself, and not its audience.
Notari alludes to an idealized Italy, one without women in metaphorical chains, where torment isn’t romanticized, and where members of the lower class are seen as more than just creatures.
Cameraperson shows to its audience not just a woman, her life, and her body of work, but the power of the camera itself as a means of capturing the breadth of emotion humanity has to offer.
Double Exposure is celebrating the 20th anniversary of Cheryl Dunye's iconic debut, The Watermelon Woman, by posting a newly edited version of Alex Robertson's longform piece on the film from our 8th print issue.
A film like Claire’s Knee is not merely a circus of irony, a spectacle of negative energy: clearly one must take some sort of base enjoyment in the lengthy, digressive musings of Rohmer’s characters that is not reducible to scoffing at their myopia.
Adulthood, one gathers, is the process of becoming one’s self, of shedding pretend play and impossible dreams in exchange for a fuller sense of self-recognition.
In both Gainsbourg and Birkin’s films, female characters dismantle structures that are commonly criticized in feminist film theory, but often they go even further.