Op-eds

Op-Ed: The Women of Celine Song: Between Materialists and Past Lives

*** This piece contains spoilers for Materialists and Past Lives *** After watching Materialists, it’s clear that the world has finally regained what was lost with Nora Ephron’s death. There’s a woman slightly...

Op-Ed: ‘Psycho:’ A Look Back At a 1st Viewing On Its 65th Birthday

I was in high school when some friends suggested we go see a late night showing of Psycho at our local art house theater. At that point in my life, I had...

Eight Can’t-Miss Titles From The 2025 Tribeca Festival Lineup

Six months have passed since this year’s iteration of Sundance kicked off the 2025 festival calendar, and though Cannes is only a few weeks behind cinephiles (and souls aplenty have still yet...

Clint Eastwood at 95: An American Century in Film

Clint Eastwood turns 95 this week. An almost unfathomable milestone for a career that feels as elemental as the Hollywood sign itself, and as raw and unforgiving as a high-noon standoff. To...

Jafar Panahi: The Director Who Refuses To Be Silenced

With the Palme d’Or win for his latest movie, It Was Just An Accident, Iranian director Jafar Panahi joins an elite class of directors who’ve won the big three festival prizes at...

Pam Grier – The Foxtrot of the Film World

I still remember the first time I saw Pam Grier in a movie. It was my early cinephilia days, I was on a Quentin Tarantino marathon, a.k.a. keeping up with releases before "Inglorious...

‘Kill Bill:’ A Tale of Two Films – From Revenge Rampage to Regretful Reckoning

She emerges from a coma with a single, burning purpose etched onto her soul: revenge, or as she says, “Kill Bill.”. Beatrix Kiddo, "The Bride," codename Black Mamba (Uma Thurman), cuts a...

Why This Shot in ‘Aftersun’ is a Masterpiece

When I made a comment about Charlotte Wells’ Aftersun on Twitter (I’m sorry, I will always call it that), I never dreamt that I would be here writing an actual essay on it. But...

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