Olivia Colman is our new Miss Havisham.

Olivia Colman is our new Miss Havisham.

By Eliza Smith | February 18, 2022

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

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Death on the Nile is Predictably Cursed by Its Troublesome Cast

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

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

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

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

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Your literary guide to the 2022 Oscar nominations.

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<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.

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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

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

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

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