Features
We discuss Darren Aronofsky’s Pi, a film about conspiracies and obsessions that is relevant in the modern age.
While Tiger King is comfort food for a troubling time, we must challenge ourselves to seek out more selective comfort.
We are very excited to announce that, as per June 1, 2020, Kristy Strouse is taking over as Editor-in-Chief of Film Inquiry.
Fleabag portrays love in such a unique, true way that it takes several watchings to fully understand the depth of it. Are love and attention the same thing?
We go through the career of Alex Garland, and how his films often follow a similar theme of focusing on dystopian worlds.
Final girls no longer owe us their heartbreak – we take a look at the trend in horror of the final victims becoming final survivors.
As we reflect on this modern phenomenon and our fear of it in film, we must be careful not to make the same errors as the media has made in covering mass shootings.
Why is it that Wes Anderson, genius auteur and filmmaker extraordinaire, is able to achieve balance when placing his subjects dead center?
Given this era of social distancing, now would be the ideal time to re-watch the Friday the 13th franchise, or start them for the first time.
Even if audiences choose to return, will the festivals be there for them, or will we see a paradigmatic shift to these industry events lodging themselves online permanently?
Violence is key to the narrative of Grosse Pointe Blank, and it forces Martin Blank to contend with who he was and who he has become.
I have a book that’s been staring me in the face for years. It sat…
We investigate how South Korean director Bong Joon-ho conquer the barrier of spoken language through cinematic language.
Patrick Bateman represents the horrors of addiction, hedonism, narcissism and greed – and with a dose of humour, he’s a character that remains ingrained in our pop culture landscape.
We delve further into the HBO film Bad Education, discussing further its themes of greed and altruism in the media.