Features
With just her voice and her eyes, Marlene Dietrich lays bare Lola’s body and heart in The Blue Angel – and we fall under her spell.
Audiences are well-endowed with a suspension of disbelief, and we deserve nostalgic, beautiful, happy stories Like The Handmaiden.
Nobody knows what the future holds for AI but it will continue to evolve and show audiences new possibilities that were once unthinkable.
New Filmmakers LA hosted an online Q&A with Rachel Wortell for her film Romance Analyst, here’s our coverage.
Cinema is an incredible and invaluable tool for education, and we need it now more than ever.
The absence of parental guidance through the strategic use of antithesis allows Extracurricular to hold its characters accountable for their mistakes.
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.