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 2017: Two Films from Hong Sang-soo

NYFF 2017: Two Films from Hong Sang-soo

His two works feel like culminations in other ways too, messing with Hong’s usual structures while asserting themselves as two of the most deeply personal and mysterious entries in his filmography
NYFF 2017: Wonder Wheel

NYFF 2017: Wonder Wheel

Through her character, and her sneakily masterful performance, we can navigate the film as an intensely confessional work by its director.
NYFF 2017: Lover for a Day

NYFF 2017: Lover for a Day

It’s an incredibly poignant, if rather confused, meditation on the multiple valences of love and fidelity from an intergenerational perspective.
NYFF 2017: Joan Didion: The Center Will Not Hold

NYFF 2017: Joan Didion: The Center Will Not Hold

What is striking about Didion as she’s shown throughout the film is not her glamour, but her steely resolve.
NYFF 2017: Lady Bird

NYFF 2017: Lady Bird

Lady Bird is about this kind of adolescent wandering: the way people, especially young people under lots of social pressure, look for containers in which to construct identities.
NYFF 2017: Let The Sunshine In

NYFF 2017: Let The Sunshine In

Bestowed soul and spirit by Juliette Binoche’s minimalist performance, Isabelle encounters a series of invariably disappointing romantic ventures.
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.
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