Korean director Bong Joon-ho on his new film, Parasite
movies
Cahiers du Post-Cinéma
The movie theater was once a kind of lay church, with festivals like TIFF serving as annual religious holidays — until new houses of worship opened online.
The Art of Acceptance Speech Giving
Michael Musto looks back at some of the best, worst, and weirdest instances of performers expressing gratitude as they received their shiny trophies.
Death Proof
With ‘Once Upon a Time… in Hollywood,’ Quentin Tarantino slakes his thirst for nostalgia while he plays god with another piece of history.
First Contact
Sarah Watts details how science fiction shaped her family, her religion, and her own self-image.
The Erotic Thriller’s Little Death
What/If references the celebrated steamy genre of the 80s and 90s, but lacks its guts. Why can’t any of the new neo-noirs go all the way?
The Joy of Watching (and Rewatching) Movies So Bad They’re Good
Michael Musto sings the praises of his favorite cinematic clunkers.
None of the President’s Men
Journalism now is a lot more fear and insecurity and a lot less corduroy and Robert Redford, but you’d never know it from what is projected.
Why Do the Oscars Keep Falling for Racial Reconciliation Fantasies?
The relationship is entirely conscripted as service and bound by capitalism and the fantastically presumptive leap is, The money doesn’t matter because I like working for you. And if you’re the racist in the relationship: I can’t be horrible because we’re friends now.
‘It Happened to My Father the Way It Happened’: The Truth About Green Book
At Vanity Fair, film critic K. Austin Collins explores the shaky “true story” of Green Book, the film by Peter Farrelly starring Viggo Mortensen and Mahershala Ali.
