Welcome to the blog of Double Exposure, Columbia University's undergraduate film journal. We publish up-to-date film criticism by Columbia students, including reviews, features, columns, lists, videos, interviews, podcasts, and more.
Festivals
NYFF 2016: My Journey Through French Cinema

NYFF 2016: My Journey Through French Cinema

In trying to pierce much too quickly and much too forcefully into the truth and beauty at the heart of cinema, Tavernier unfortunately overlooks the potential wider impact of his own encounters with movies.
NYFF 2015: The Assassin

NYFF 2015: The Assassin

Hou's clarity of vision ensures that the film's various birch forests and palace interiors and ancient relics are beautiful—so beautiful, indeed, that they almost become distorted and unreal.
NYFF 2015: Everything is Copy

NYFF 2015: Everything is Copy

Because the tone and content of her writing were so personal, Ephron’s success paradoxically depended on her carefully curated public image. While everything is copy, it’s only copy when she wants it to be, and her power lies in that distinction between open and secret.
NYFF 2015: In the Shadow of Women

NYFF 2015: In the Shadow of Women

With each narrative reveal, one gets the creeping sense that Pierre, too, by virtue of his very infidelity, his childish behavior, his destructive impulses, lives in the shadow of the woman he’s betraying.
NYFF 2015: Mountains May Depart

NYFF 2015: Mountains May Depart

Jia doesn’t leave the character of China's transformations to the audience's imagination. Tao’s son is given the name Dollar. “I will make you lots of money,” his dad whispers to the child.
NYFF 2015: Blow Out

NYFF 2015: Blow Out

Straddling thresholds of genre, style, and class, Blow Out challenges the seemingly dichotomous relationship between popular low-budget movies and esoteric Hollywood films.
NYFF 2015: The Boys From Fengkuei

NYFF 2015: The Boys From Fengkuei

The lengthiest shots in the film focus primarily on individuals—characters in between actions, just sitting, thinking, staring off into the distance, wholly preoccupied with that primary adolescent pastime of brooding.
NYFF 2015: Baumbach Charts New Territory In a Well-Worn Genre

NYFF 2015: Baumbach Charts New Territory In a Well-Worn Genre

It’s like gawking at Whistler’s Mother in the Mussée D’Orsay while Whistler himself stands over your shoulder and talks to you about it.
NYFF 2015: 4 Takes on Nathaniel Dorsky / Jerome Hiler

NYFF 2015: 4 Takes on Nathaniel Dorsky / Jerome Hiler

Dorsky and Hiler know the value of absence, of dark space—the film artist’s equivalent of the painter’s blank canvas, or the writer’s blank page.
NYFF 2015: Black Girl

NYFF 2015: Black Girl

The bulk of the film makes us beg as she does for something to alleviate what, after just twenty minutes of interior shots of the French apartment, can feel like an endless entrapment.
NYFF 2015: Insiang

NYFF 2015: Insiang

Insiang ruthlessly exposes how the slums of the Philippines thoroughly consumed its inhabitants.
NYFF 2015: The Witness

NYFF 2015: The Witness

Kitty Genovese’s life has disappeared behind her public, dramatic, and eminently watchable death. We, as the audience, are transformed into cruel spectators, craning our necks to see footage of bloody handprints and desperate screaming, reifying her tragedy by refusing her a life before death at all.
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