Film

Picking a Frame: The Film Posters of Peter Strausfeld

Face to Face: April 2026

An Uncommodified Marilyn Monroe

A Long Shot of the Eternal City

Spectacle and Intimacy: Claudia Bitrán’s Remake of “Titanic”

The Limits of Autonomy in Emerald Fennell's "'Wuthering Heights'"

From My Institution to Yours*

The Cinderellas of Contemporary Cuba: Ana Alpizar’s "Norheimsund"

The Political Potential of the One-Liner

Editors’ Selects: November 2025

Jafar Panahi’s Cinema of Mutual Captivity

Review: "Back Home"/"Ecce Mole"

On Refusing the Refuge of the Past

Where Do We Go from Here?

Specters of Queerness in “Weapons” (2025)

Unwasted Moments: Re-evaluating “Tangerine” (2015)

The Siren Song of Cultural Diplomacy

“Becoming Ghost” with Cathy Linh Che

Beyond the Loop: “Strata” Simulates the Infinite

Review: Chronicles of the Absurd

The “Man with AI Movie Camera,” Dan Sickles

“I’m not queer, I’m disembodied”: Luca Guadagnino’s Adaptation of “Queer”

24 FPS: Isabel Sandoval, Incandescent Auteur

60 years ago, the Changed Ending of “My Fair Lady” Failed Eliza Doolittle

Omar Mismar Examines the Role of Botox in Post-War Lebanese Society

In 2014’s “The Interview,” Amnesia is a Privilege

Paul Schrader Doesn’t Believe in the Future

What’s Your Pleasure?

Lost in Time: Serbian Filmmaker Returns to Once-Forgotten Memories

Impressions of Loneliness in Asteroid City