How a Swedish Whodunnit Speaks to Pandemic Life in Delhi (and the World)

How a Swedish Whodunnit Speaks to Pandemic Life in Delhi (and the World)

Anandi Mishra on Anxious People in Times of Crisis

By Anandi Mishra | February 18, 2022

How Buster Keaton Became a Cinematic Superstar

How Buster Keaton Became a Cinematic Superstar

James Curtis on Buster Keaton's Transition from the Stage to the Screen

By James Curtis | February 18, 2022

David Wright Faladé on the Case for Civil War Revisionism in Film and Literature

David Wright Faladé on the Case for Civil War Revisionism in Film and Literature

“We are writing ourselves closer to the ideals purported at the founding.”

By David Wright Faladé | February 15, 2022

Let's take a tour of Salman Rushdie's IMDb page.

Let's take a tour of Salman Rushdie's IMDb page.

By Jessie Gaynor | February 14, 2022

In the Resurgence of Folk Horror, We Are the Villains

In the Resurgence of Folk Horror, We Are the Villains

Michelle Nijhuis on Woodlands Dark and Days Bewitched:
A History of Folk Horror

By Michelle Nijhuis | February 14, 2022

Bless This Sex: On Dating Shows and the Touch We Want to Remember

Bless This Sex: On Dating Shows and the Touch We Want to Remember

K Chiucarello Finds Moments of Solace in Love is Blind

By K Chiucarello | February 14, 2022

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Death on the Nile is Predictably Cursed by Its Troublesome Cast

By Marah Eakin | February 11, 2022

Erich Schwartzel on Hollywood, China, and the Global Battle for Cultural Supremacy

By Keen On | February 11, 2022

Reality TV is Getting Boring Again—and Maybe That’s a Good Thing

By Danielle J. Lindemann | February 10, 2022

On the Coen Brothers’ Bitter, Brokenhearted Noir, <br><em>Miller’s Crossing</em>

On the Coen Brothers’ Bitter, Brokenhearted Noir,
Miller’s Crossing

Olivia Rutigliano Reflects on the Classic Gangster Film as It Heads to the Criterion Collection

By Olivia Rutigliano | February 9, 2022

Georgia Pritchett Recounts a TV Industry #MeToo Experience in Three Acts, with No Closure

Georgia Pritchett Recounts a TV Industry #MeToo Experience in Three Acts, with No Closure

“It was almost funny, except it wasn’t.”

By Georgia Pritchett | February 9, 2022

Your literary guide to the 2022 Oscar nominations.

Your literary guide to the 2022 Oscar nominations.

By Eliza Smith | February 8, 2022

<em>Drive My Car</em> is the first Japanese film ever to be nominated for Best Picture.

Drive My Car is the first Japanese film ever to be nominated for Best Picture.

By Walker Caplan | February 8, 2022

Why <em>Crouching Tiger, Hidden Dragon</em> Fell Flat in Chinese Theaters

Why Crouching Tiger, Hidden Dragon Fell Flat in Chinese Theaters

Erich Schwartzel on Ang Lee’s Road to Hollywood

By Erich Schwartzel | February 8, 2022

From <em>Little Miss Sunshine</em> to <em>Nanny</em>: How Genre is Transforming Our Idea of the “Sundance Film”

From Little Miss Sunshine to Nanny: How Genre is Transforming Our Idea of the “Sundance Film”

Reuben Baron Considers a Trend in This Year's Festival Standouts

By Reuben Baron | February 7, 2022

Take an early peek at Hulu's adaptation of <em>Conversations With Friends</em>.

Take an early peek at Hulu's adaptation of Conversations With Friends.

By Emily Temple | February 4, 2022

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