The question of sex scenes’ value is one that’s been posed for years. On Film Twitter, the discourse is renewed every few months, with some people arguing that cinema doesn’t need sex scenes anymore. In truth though, sex scenes have already begun to disappear from films, which makes the need for them even greater.
In the early to mid 2010’s, it seemed like almost every YA series was receiving a film adaptation. From the success of The Hunger Games (2012) to The Fault in Our Stars (2014), teens could see their favourite dystopian novels and romantic tearjerkers brought to life. But, there was one series that felt like it would never see adaptation. Leigh Bardugo’s Shadow and Bone trilogy debuted in 2012 (with each follow up released yearly in succession), and was met with high praise...
Perhaps the most iconic television series of the 2010s, Game of Thrones debuted on April 17th, 2011. Since then, the show has become larger than life, spanning 8 seasons, and being nominated for 160 Emmys (and winning 59 of them!). Three of those Emmy nominations went to Iranian-German composer Ramin Djawadi, who worked on Game of Thrones’ original score for all 8 seasons.
When it was first announced that The Falcon and the Winter Soldier was going into production, many people were left scratching their heads. Why did Captain America’s wingmen need their own show? Where will this story fit in the MCU? And why are they getting a TV show, and not a film? To answer the first question: Sam Wilson and Bucky Barnes have always been the heart of the Captain America films.
Revenge films can take many faces. From the Kill Bill duology to I Spit on Your Grave, it’s a genre that’s been in flux for decades. It’s rare for a film like Violation to come around, a piece of art that attempts to take the genre apart and piece it back together. The film breathes new life into a genre of film that tends to traumatize its characters for the sake of the audience and attempts to break down what exactly the act of revenge can do to the human psyche.
I love “feel bad” movies. From my early introduction to horror at the age of 8 (thanks, Dad!), to seeing Annihilation five times in theaters, I’ve always been enamoured with all things depressing and horrific. When the COVID-19 pandemic began, I realized I was watching and rewatching films that upset me more than ever, and quickly began deeming certain films my “comfort films.”
Right from its opening shot, Mass is heavy. There’s an unbearable weight in the silence it showcases, and it’s a weight that doesn’t lessen as the film progresses. The film follows two sets of parents who meet six years after a devastating tragedy, as they try to navigate and discuss how this tragedy has affected each of them.
Based on the Nella Larsen novel of the same name, Rebecca Hall’s directorial debut Passing is one of the best ensemble films in recent memory. While the story focuses on the characters of Irene Redfield (Tessa Thompson) and Clare Kendry (Ruth Negga) and the resurgence of their friendship, Hall masterfully directs every actor, making for an engaging and ultimately shocking film.
The “white lesbian period drama,” seems to be a sub-genre that is never-ending. From the recent Portrait of a Lady on Fire to the even more recent Ammonite, the tale of two white women finding love while on the brink of isolation is quickly becoming tired. But, sometimes this new trope can work, especially when a filmmaker has a story to tell and the film’s leads have chemistry. The World To Come seems like a film we’ve seen before, but it’s anything but.
When it first dropped, I tweeted that Playboi Carti’s newest album Whole Lotta Red is the rapper’s ARTPOP—and a month later, I stand by that claim. Immediately upon its release, there were thousands of rapheads and Carti fans saying Whole Lotta Red was the “worst album” he’d put out, and some even said it was the worst album of the year. While it’s quite different from a lot of the rap dominating the Billboard 100, Carti does something a lot of mainstream acts are afraid to do: experiment.
When you’re first getting into film, you tend to hear the same names repeated over and over again: Fincher, Scorsese, and, most of all, Tarantino. As a young cinephile, I was drawn to the outrageous violence in his films and the way he used music like a plot device. Years went by, and I still continued to immerse myself in his films, tuning out the criticisms against him.
Alien, mind-bending, out of this world—those are just some of the ways to describe the music and artistry of SOPHIE. The artist came onto the scene in 2013 with the energetic "Nothing More to Say/Eeehhh," and since then SOPHIE has had a hand in creating the sweeping genre known as hyperpop. With beats unlike anything that was coming out at the time, the industry and fans alike watched as SOPHIE unearthed something truly profound.
Sundance ’21 – The Most Beautiful Boy in the World: A Poetic and Devastating Insight into the Life of Björn Andrésen
We all know of the 1971 Luchino Visconti film about ageing and desire: Death in Venice. The film debuted at the Cannes film festival that same year and went on to win the 25th Anniversary Award as well as four BAFTA’s. Back then, the star of the show was 15 year old Björn Andrésen, who Visconti deemed “the most beautiful boy in the world.” Even now, at 66 years old, Andrésen’s Wikipedia page showcases a photo of him at 15, as if that image of him is the only one that counts.
Friendships based on shared trauma are something indescribable. It’s surviving because you need that other person, and while the world around you sucks, you know you can’t leave this person behind. Friendships based on shared trauma turn into friendships based on survival, which writers Ari Katcher and Ryan Welch explore in their debut film On the Count of Three.
Billed as a “harrowing psychological thriller and a potent coming-of-age fable,” John and the Hole tells the story of John (Charlie Shotwell), a young boy struggling to come to terms with the terror of adolescence and the questions it brings. His parents force him to nurture a love for tennis, his math teacher humiliates him in front of his whole class, and the prospect of getting older seems to terrify him.